Farelli's Card Magic

FARELLI’S CARD MAGIC

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“ . . . Every hoss can do a thing

better and spryer if he's

been broke to it as a

colt."

David Harum.

“ . . . Subtle deliberation is the
weapon of the Modernist."

“ The Magic Wand."
(December, 1932)

FARELLI’S

CARD MAGIC

A PRACTICAL TREATISE ON LITTLE-
KNOWN CARD SLEIGHTS, INCLUDING

NUMEROUS NEW CARD PROBLEMS

By

VICTOR FARELLI

Editor of
“ THE ODIN RINGS.”

Author of
“THE MASTER SPELLER,”
“ CONTROLLED COINCIDENCE,”

“THE MYSTIC SEVEN”

Illustrated by Seventy-eight
Photographs and Sketches, also

many Diagrams.

COPYRIGHT

The right to reproduce the
contents, or any part

thereof is strictly reserved.

EDWARD BAGSHAWE & CO.

GREAT WEST ROAD, HESTON
MIDDLESEX, ENGLAND

TO

MY MOTHER

CONTENTS PAGE
9
Foreword
Introduction 11
Index of Illustrations 12

Chapter 1-FLOURISHES 15
15
Fancy Shuffles 16
The Standard “ Waterfall ” Shuffle 17
The “ Double Waterfall ” Shuffle 17
The “ Spring ” Shuffle 1l
17
The Cards on the Arm 18
The “ Throw ” 18
The “ V.F. Throw and Turn ” 18
The “ Slide ” 19
The Mulholland “ Grab ” 19
The Back to Front “ Toss ” 20
Spreading Two Packs 20
The “ Dart Forward ” 21
The Weyer “ Gather-Up ’ 21
An Easy Combination 22
The “ Boomerang ” Card 22
Throwing Two Cards in Succession 22
Throwing Cards with Both Hands 22
Card Caught with Hand at Side 22
Throwing Two Cards Together 22
Catching a Card with Scissors 22
Addition to Cutting a Card in the Air 22
Loaded Card for “ Boomerang ” 23
The “One Hand Drop ” 23
The Cards to Use 24
The “ Blindfold Drop ”
The Vertical “ One Hand Drop " 24
The “ Ambidextrous ” Drop 25
25
Chapter 2—PASSES 26
28
The “ Drop ” to Cover the Pass 28
A Common Fault 28
Turning the Pack to Hide the Pass
The “ Move ” that Mystified Downs 29
31
Dr. Elliott’s Presentation 32
The Rubber Band Version
The “Weyer” Version
The Improved “Bluff” Pass
The “ Charlier ” Pass
The “ Veneri ” Move

Chapter 3-SUBSTITUTES FOR THE PASS 32
32
The “ Mahatma ” Substitutes 33
First Version 33
Second Version 33
Third Version 34
34
The Bagshawe Substitute 35
The “ Riffle ” Substitutes 35

Using a “ Longitudinal Bridge ”
Using the Veneri “ Flesh ” Break
The “Strip Cut” Shuffle Substitute

Eliminating the Pass for Forcing PAGE
The “ Strip ” Cut
“ Sighting ” 35
Shuffling to the Centre 35
By means of the “ In-jog ” 35
Pack Cut by Spectator 35
The “ Continental ” Cut 36
36
36

Chapter 4-FORCING

Timing 37
Balance 37
Some “ Imperfections " 37
37
Closing the Fan 37
Suggesting Liberty of Choice 38
Aggressiveness 38
Exposing on the Stage 38
The Nervous Assistant 39
Choosing a “ Forcee ” 39
A “ Tip ” from Spain 39
The Table “ Spread ” 39
A Simple Infallible Force 40
The Touch Method
The “ Pencil ” Force 41

Chapter 5—FALSE SHUFFLING

Should Cards be Shuffled ? 43
The Roumanian “ Fan ” Shuffle 44
The “ Lace-Through ” Table Shuffle 45
45
Learning the Sleight
The Interlocking Shuffle 47
The “ Waterfall ” Blind Shuffle 47
47
The Oblique Cut 47
The Shuffle 49
The “ Strip Cut ” False Shuffle 49
The “ Milking ” Shuffle 50
“ Setting ” the Pack 51
A Substitute for False Shuffling

Chapter 6—PALMING

The Cards to Use 52
Common Faults 53
53
Curling the Forefinger 53
Stiffness of the Arm 53
Spreading the Thumb 54
The Longitudinal Grip 55
The Devant “ Mark-Off ”

Chapter 7-SECOND DEALING

The First Method 55
First Exercise : Moving a Pair 55
Second Exercise : The Withdrawal 56
Third Exercise : Seizing the Second Card 57
Fourth Exercise : The “ Swing ” 58
58
The Second Method

Chapter 8—Miscellaneous SLEIGHTS and “ TIPS ”

A Link with the Past 63
A Clean Slip 64
A Little-known “ Glimpse ”
64

The Veneri “ Flesh ” Break PAGE
The Veneri Discovery
A General Utility “ Location ” 65
65
Disposal of Located Card 66
Suggestions 68
A “ Sucker Gag ” 68
Returning a Card to the “ Fan ” 68
Thumb-Counting 68
Crimp and Riffle Location 69
The Goldin Visible “ Change ”
The Houdini “ Bluff ” Change 70
The “ Left-About ” Change 70
To “ Sight ” the Bottom Card 71
How to “ Bridge ” 72
For the Table “ Spread ” Force 73
The Tail of the “ Q ” 73
Cards with White Borders 74
The Mexican Turn-Over 74
To Make Cards “ Slippery ” 74
Obtaining a “ Stock ” 74
With a Borrowed Pack 75
Learning New Sleights 75
75
76

Chapter 9—TRICKS BASED ON THE “ GLIDE ”

The Three Packets 77
The Partagas “ Sell ” 79
A Matter of Thought 81

Chapter 10—EASY EFFECTS 82
84
Subtlety versus Manipulation
A “ Close-Work ” Discovery 85
The “ Follow-Up ” 86
The “ Soo ” Stripper Pack 86
The “ Double Crimp ”

Chapter 11—THE CARD TO WALLET 87
89
A Strange Hallucination 89
Up His Sleeve 91
The “ Sandwich ” 93
A Double Surprise 93
The Original Card to Pocket 93
For Conjurers Only 94
Pure Bluff
With an Unprepared Pocket-Book

Chapter 12-MORE TRICKS 95
95
The “ Do-it-Yourself ” Discovery 96
The Veneri “ Turn ”
Four from Five Leaves One 98
The “ Slick ” Ace
A Study in Blue and White 99
The “ Simplex ” Thirty Cards 102
The Floating Image 104
105
Slightly Different Presentation 105
An Additional Effect 105
History and “ Invention ”

L’ENVOI

foreword

IT must be conceded that magic has in the past
been plentifully supplied as regards material
upon card conjuring. The subject is quite
inexhaustible, and for this reason the magician who
uses playing cards is naturally interested in the latest
ideas embracing new methods and presentation.

This new book will, I think, be welcomed by all
card workers. The author has set out to describe
several novelties and improvements, and the items he
has included in the book have been specially chosen
from a collection of material that is the outcome of
a wide experience of this particular branch of magic.

Among the contents the reader will find several
originations involving new “ twists ” on sleight-of-
hand processes, and also various improvements on
existing sleights. Although many modern card tricks
tend to dispense as far as possible with manipulative
work it is, I think, all to the good to keep in mind the
legitimate function of sleight-of-hand as an ally to
the magician. The chapters on manipulative work
included herein form a valuable section of the book,
although in order to suit all tastes a number of simple
effects and many ingenious subtleties have recently
been added to the manuscript.

The numerous illustrations have been prepared
under the author’s own guidance, and the reader
will find that the various moves are demonstrated
with great clearness. Photographs have been included
wherever it has appeared that their use would enhance
the descriptive value of the text.

And now I will not delay the reader any longer,
for I know that he will be wishing to explore the
many good things that this book has to offer—among
which will be found methods communicated to the
author by such men as David Devant, Nate Leipzig,
Horace Goldin, John Mullholland, Billy O’Connor,
the late Harry Houdini, Dr. Elliott, Chung Ling Soo,
and a host of others.

EDWARD BAGSHAWE.

INTRODUCTION

BEING, perchance, rather slow on the
“ up-take,” I often experience the
greatest difficulty in understanding
descriptions of card sleights and effects.
In an earnest endeavour to avoid all
ambiguity, I have spared neither time nor
trouble in continually revising and
correcting the manuscript of this
treatise. I hope, therefore, that the
reader will be indulgent should my
explanations appear, at times, somewhat
verbose . . .

The late Edgar Wallace once remarked
that the great art of writing consisted in
knowing how to handle a blue pencil. I
have used mine freely.

As the reader will observe, many of the
performers whose methods I disclose have
long since “ passed over ” : consequently,
any pledge of secrecy that I may have given
to those who have left us is no longer
binding, and the publication of their effects
cannot be harmful to them or to their
memory. On the contrary, by explaining
their secrets, I place the names of the
originators on record, and I sincerely
trust that future writers on Magic will
find this work of some interest and
historical value.

VICTOR FARELLI.

10th June, 1933.

INDEX OF ILLUSTRATIONS

As frequent references have to be made to some of the
illustrations, the following list has been compiled for
the convenience of the reader.

Page Page Page Page
Fig. 1 15 Fig. 21 31 Fig. 41 50 Fig. 61 66

2 15 22 31 42 52 62 66
3 16 63 67
4 16 23 34 43 52 64 67
5 16 24 36 65 67
6 17 44 53 66 67
25 41 45 53
7 17 26 41 46 54 67 69
8 18
27 42 47 54 68 69
9 19 28 44 48 54 69 69
10 21 29 44 49 56 70 70
30 45
11 23 50 56 71 70
31 45 72 70
12 24 32 46 51 57
33 46 52 57 73 71
13 25 33a 46 74 72
14 26 53 57 75 72
34 46 54 58 76 96
15 27 77 103
16 28 35 47 55 59 78 104
36 48 56 63
17 29 37 48 57 64
18 29 38 48 58 64
19 30
20 30 39 48 59 65
40 49 60 66

NOTE.—It is quite impossible to obtain even a faint idea
of the contents of this book—which describes well over a

hundred distinct items—by examining the photographs.
For instance, Figs. 7 and 8 do not illustrate the well-known
“ flourish ” of reversing a pack of cards on the arm, as a
casual glance might lead one to imagine. The explana­
tions must be carefully studied.

PART ONE



FARELLI'S CARD MAGIC

CHAPTER I

FLOURISHES

MANY well-known writers on matters magical are against the inclusion
of flourishes and fancy sleights in a conjuring entertainment, maintaining
that any parade of dexterity completely destroys the magical atmosphere.
Other authorities, equally eminent, hold that these little interludes actually enhance
the performance.

Of course, it is not surprising that experts in magic, as in other pursuits, should
disagree. It is proverbial that members of the medical profession, more
particularly specialists, have their individual ideas and notions—

“Hippocrate dit oui, mais Galien dit non.”
In Lesson 59 of his Correspondence Course Harlan Tarbell writes :—

“There is a difference between a manipulative juggler and a manipulative
magician. In the first case the audience gives credit for the performer
concealing objects by dextrous moves, while in the latter case the audience
is really and truly mystified. It notices no moves that are unnatural.”
Many years ago I discarded all fancy sleights from my card act, having come
to the conclusion, either rightly or wrongly, that from the point of view of true
Art that was the only course to pursue. Be that as it may, there is not a shadow
of a doubt that sleights of pure dexterity, when cleanly performed, “go down
great” with an audience, especially with one composed exclusively of men.
It is not my intention to cover the whole ground—a book could be written
on this branch of card handling—but merely to describe a few of the lesser-known
fancy sleights. I shall mention also some improvements or variations of the
standard flourishes.

FANCY SHUFFLES

The Standard " Waterfall" Shuffle

This is a genuine shuffle, that is to say, it really mixes the cards, and is merely
a fancy version of the “ riffle ” shuffle in everyday use by card conjurers.
I mention it as an introduction to the “Double Waterfall” Shuffle, of which a
description will be given subsequently.

a. Take about half the pack in either hand as depicted in Fig. 1. The
thumbs almost touch each other ; the fust fingers are curled against
the top cards. The middle, third and little fingers are under their
respective packets which latter are bent at an angle of about 90 degrees.

D

16 FARELLI'S CARD MAGIC

b. By gradually relaxing the pressure of the thumbs, release the cards
and cause them to interlock. Fig. 2 shows the position after about
half the cards have been allowed to fall.

c. When all the cards have been released, place the thumbs together.
Now, by an upward pressure of the middle and third fingers and by an
inward pressure of the palms of both hands, bend the pack into a
semi-circle, thus :—

d. By slowly relaxing the pressure of the hands, allow the cards to fall
as shown in Fig. 3.

e. The next illustration (Fig. 4) indicates the state of affairs after all
the cards have fallen.

f. By an inward pressure of both hands square up the pack.

The “Double Waterfall" Shuffle

This pretty manipulation was shown to me many years ago by that genius
of the “paste-boards,” Mr. Nate Leipzig. I have never met any other performer
who claimed to have seen it. In view of the fact that Mr. Leipzig makes no parade
of dexterity on the stage, I take it that he shows this shuffle to magicians only.

I. Proceed exactly as in the standard version, taking care, however
not to interlace the cards too far. Execute the “waterfall,” after which
the position will be as in Fig. 4, except that the cards will not be inter­
locked quite so far.

II. Now, by an upward and outward sweep of the arms, reverse the pack,
bringing the thumbs towards the ground, the fingers towards the
ceiling.

III. Hold the cards about the height of the chin and by an inward pressure
of the hands curve the pack downwards, thus :—

IV. Move the thumbs out of the way, release the pressure of the hands,
and a second “ waterfall ” will be the result. Fig. 5.

FARELLI’S CARD MAGIC 17

Using this shuffle as a basis, I have devised what I term the “ Waterfall Blind
Shuffle ” which will be described in Chapter V.

The “ Spring ” Shuffle

I. Cut the pack into two equal portions and hold a half lengthwise and
face downwards, in either hand, the thumbs at one end, the fingers at
the other. The thumbs should be about an inch apart and the backs
of the hands upwards.

2. Bend both packets inwards towards the palms as shown in Fig. 6.
Holding the hands about five inches above the table, spring the
cards thereon and let them interlace as they fall.

3. The cards must be sprung from the thumbs of both hands and not
from the fingers.

This may be used as a partial false shuffle to keep a “ stock ” either at the top
or bottom of the pack. It is quite convincing.

THE CARDS ON THE ARM.

The " Throw "

Spread the cards on the right arm in the usual fashion, but instead of commencing
at the tips of the fingers as is done when about to perform the familiar “ turn-over,”
start at the roots of the fingers. Fig. 7.

Now partially close the fingers of the right hand and jerk the elbow towards the
body, at the same time slightly lowering the wrist. This will “ shoot ” the cards
into the right hand.

I mention this well-known flourish as an introduction to the item which follows.

The " V.F. Throw and Turn "

An elaboration of the above. Spread the cards as described (Fig. 7) and then
turn the inside of the forearm (i.e., the side on which the cards lie) towards the
floor, at the same instant jerking the hand towards the body and slightly towards
the right. This will cause the pack to close up in the right hand.

Although this feat appears to be very difficult it is in reality extremely easy.
The reader will probably be able to perform it at the first attempt.

18 FARELLI’S CARD MAGIC

The " Slide "

This is another simple and easily performed little flourish.
Keeping the right forearm parallel to the floor, spread the cards thereon, com­
mencing at the elbow and continuing to the tips of the fingers.
Standing with the right side towards the audience, raise the right hand, not too
quickly, towards the ceiling thereby bringing the forearm into a perpendicular
position. The cards will slide into the “ fork ” of the elbow and the closed up
pack may be gripped between the forearm and the biceps, or that part of the arm
where that set of muscles should be.
There is nothing difficult in this flourish provided the “ spread ” be started
at the elbow and continued towards the hand. On the contrary, should the cards
be extended from the hand to the elbow, the manipulation would become next
to impossible of execution.
It depends also for its success on the degree of speed with which the right hand
is raised. A few moments spent in experimenting will enable the reader to
determine this better than a thousand words of text.

The Mulholland " Grab"

This is a speciality of that brilliant and world-famous magician, Mr. John
Mulholland, by whose permission it is now made public for the first time.

Run the cards along the right forearm, starting at the finger tips and continuing
the spread to a point about six or seven inches beyond the wrist. Partially close
the right hand, causing the cards to rise as depicted in Fig. 8.

The cards must be very evenly balanced so that they will retain their position
without any assistance from the fingers of the right hand, the palm of which should
be extended as shown in the photograph above referred to. A little time spent
in experimenting will enable the reader to understand what I mean to convey.

Slowly bend the knees, then straighten them smartly, thereby throwing the
cards a few inches into the air. At the same instant seize the pack with the left
hand—the fingers against the face card (i.e., the card which is standing erect on the
palm), the thumb against the top card, namely, the one towards the shoulder.

The whole secret lies in bending the knees and in balancing the cards evenly.
In Mr. Mulholland’s hands this feat produces a most startling effect and having
seen it performed by the originator, in Paris, I can recommend it with every
confidence to the ambitious card manipulator. It was greeted by enthusiastic
applause at a special meeting of the “ Association Syndicale des Artistes Pres­
tidigitateurs ” of Paris, which was held in Mr. Mulholland’s honour in May of
this year and at which many old-timers were present.

The Back to Front " Toss "

This pretty sleight is much easier when done on the bare arm than on the
coat sleeve, but bare-armed conjurers (of the “ strong ” sex) are, I am glad to say,
out of fashion in these days.

With the left hand run the cards—lengthwise—along the back of the right hand
and arm, starting at the tips of the right fingers and finishing the “ spread ” at

FARELLPS CARD MAGIC 19

about an inch from the elbow joint. The palm of the right hand is, of course,
towards the floor. Fig. 9.

Sharply throw the cards about an inch or two into the air, quickly reverse the
arm (bringing the palm towards the ceiling) and catch the “ ribbon ” on the
forearm.

Finish by the “ Throw ” or the “ V. F. Throw and Turn.”

The “ Toss ” is by no means difficult when done on the bare arm. I am told
that it can also be performed on the coat-sleeve, but I cannot remember ever to
have seen it accomplished in an absolutely perfect manner.

A still greater effect may be obtained with a pack on either arm, but I had better
explain the correct method of spreading. I once saw a performer who got his
assistant to perform this service, but that, as will be seen, is unnecessary.

Spreading Two Packs

Holding a pack in either hand, each slightly curved in towards the palm (thus :—
) in the usual manner, first of all run the left hand pack along the back of the
right arm, then, very slowly, spread the right hand pack on the back of the left arm
in like fashion.

Care must be taken in this, but it is by no means such a delicate operation as
would appear at first sight. There are many more difficult manipulations, for
instance . . .

The " Dart Forward "

Standing with the left side towards the audience, spread the pack along the back
of the right hand and arm, starting at the finger tips and finishing towards the
elbow.* (Fig. 9.) Slightly bend the knees and then straighten them smartly,
thereby throwing, or jerking, the cards into the air. Very quickly, draw back
the hand, which, immediately shooting forward, seizes the first card—the one
towards the body. The impetus closes the “ ribbon,” and all the cards are caught
in the right hand, that is to say, after considerable practice.

As the first card is seized a sort of “ V ” couchant (thus :—>) is formed by
the fingers and thumb, the thumb being down, the back of the hand towards the
ceiling. The forefinger should lie along the centre of the top card and not along
the left hand edge as one would naturally imagine. This insures that the thumb
will be under the centre of the “ ribbon ” as the cards close up. If this point is
neglected it will be next to impossible to perform the feat neatly : in fact, I doubt
if it could be done at all.

There are three important secrets in this manipulation :—

a. Bending and straightening the knees.

b. Keeping one’s eye on the card towards the body only.

c. Taking care that the finger and thumb be at the centre of the pack,
as above explained.

Note.—As the hand shoots forward to seize the first card, it should be
moved about an inch towards the right.

*Some operators prefer to run the cards from the elbow to the ti ps of the fingers and NOT as
shown in Fig. 9. V. F.

20 FARELLI'S CARD MAGIC

The only difficulty is in drawing the right hand back quickly towards the
shoulder, before the cards start to fall.

When learning this fioriture, I used a piece of cardboard of the same length
and width as the “ ribbon ” to practise with. A better plan, however, would be
to get a pack of threaded cards—one which opens lengthwise and not breadthwise
as usually supplied by the dealers—and to practise with that instead of with the
cardboard.

Either of those little “ wheezes ” will save a lot of time being wasted in picking
up cards from the floor, in the early stages of learning the manipulation.

When starting to practise with an unprepared pack, it is advisable to spread
the cards only about nine or ten inches along the arm. When proficiency has
been attained, the length of the “ spread ” may be gradually increased until it
reaches that shown in Fig. 9.

This feat is extremely effective and obtains much applause from the audience,
especially when performed with two packs simultaneously, one on either arm, as
done by Talamas, the French card manipulator. When using two packs, the
operator should stand full face to the spectators, both hands pointing towards
them.

The “ Dart Forward ” becomes much easier of execution when the cards are
spread breadthwise instead of lengthwise as indicated. In this case it is not
possible to “ run ” the cards by curving them in towards the palm, but it will
be necessary to spread them, as evenly as one can, with the finger and thumb
of the left hand, the thumb below, the back of the hand being towards the ceiling.

The Weyer " Gather-up"

The “ Dart Forward ” calls to mind a similar, although vastly easier, flourish
which was a speciality of the late Alexander Weyer of Luxemburg, a magician to
whom I shall have occasion to refer in Chapter II.

WORKING

1. Standing with the left side towards the audience, run the cards along
the back of the right arm, starting at the elbow and finishing the
spread at the tips of the fingers. The cards are, therefore, laid out
in the reverse order to that illustrated in Fig. 9.

2. Insert the left thumb, to the extent of about an inch and a half, under
the card nearest to your shoulder. The fingers of the left hand (the
back of which is towards the ceiling) must point in the same direction
as the fingers of the right. This is important.

3. To gather up the cards, throw the “ ribbon ” into the air by a slight
upward jerk of the right arm : then quickly thrust the left hand
forward, at the same instant dropping the right arm to the side. The
pack will close up automatically in the “ V ” formed by the fingers and
thumb of the left hand.

This feat appears extremely difficult, but if the reader will follow the above
instructions, step by step, he will certainly succeed at the first or second attempt.
I repeat that the upward movement of the right arm is very slight : if desired it
may be omitted.

I consider this move to be one of the very best of the easier flourishes. I have
never seen it performed by anyone but Weyer and myself, and I do not think that
it has been described in print before.

An Easy Combination. Performed on the Bare Arm

The following series of movements does not belong to the “ Haute Ecole ” ;
nevertheless, it is effective when smartly performed.

1. Spread the cards face downwards and breadthways along the arm.
(Fig. 9.)

2. Throw them to the “ front ” of the forearm. (The Back to Front
“ Toss.”)

3. By means of the fingers reverse the cards, bringing them face upwards.
(It should not be necessary to explain this here. The move is known
to all conjurers.)

FARELLI'S CARD MAGIC 21

4. Raise the hand and allow the cards to slip down to the crotch of the
elbow. (The “ Slide.”)

5. Throw the pack from the right elbow into the same hand.

The complete series, which may be performed with two packs, one in either hand,
must be carried out rapidly and with but little apparent pause between each item.

THE " BOOMERANG ” CARD

This again is a standard sleight and one of the most showy. As every conjurer
knows, it consists in throwing a card into the air at an angle of 45 degrees, and as
it leaves the hand (or rather, a fraction of a second after it has left the hand) in
giving a sharp backward pull to the corner of the card, causing the latter to revolve
rapidly on its own axis and to return to the hand of the magician.

Throwing Two Cards in Succession

The most brilliant exponent of card throwing I ever saw was the late Fred
Harcourt. When a card returned he did not catch it with the fingers, but, with
the right hand, he “ slapped ” it on to the top of the pack held in the left. He
then threw two cards in rapid succession and slapped each on to the pack as it
gracefully flew back towards him. The effect can only be described as astounding.

Being struck by the beauty of the feat, I practised industriously for about
three years (not continuously, of course ; I did other things as well !) and attained
a fair degree of proficiency, but never that exhibited by Harcourt.

The secret is to get the second card in readiness before the first card is thrown.
Fig. 10 shows the position in which the card should be held on top of the pack by
the fingers of the left hand. The first card should then be thrown as far as possible
—at least twenty or twenty-five feet. This gives the right hand time to return to
the pack and seize the second card. The performer must be able to throw the
card a fraction of a second after having gained possession of it. There must
be no perceptible pause—no “ winding-up,” to use a base-ball term.

Since starting to write this section I have spent a few minutes in experimenting
in order to ascertain if my hand had lost its cunning. I find that I can do the
“ boomerang ” with one card as well as ever, but the “ juggle ” with two cards
is now beyond my skill. I do now exactly what I used to do when learning the
feat. I do not throw the second card properly through fear of missing the first
as it returns.

I do not think that any extraordinary degree of skill is required. It seems to me
that the essential thing is absolute confidence and coolness.

A Continental prestidigitateur, who has since joined the great majority, once
told me that he was able to perform the feat with no less than five cards ! As he
was a notorious farceur I did not believe his statement, but I trust that I was
tactful enough not to let him see that I doubted his word. It might be possible,
after years of practice, to acquire sufficient skill to use three cards, but I do not
think any performer will ever be able to juggle with four. I use the word advisedly
for this is a feat in juggling in the strictest sense of the word.

22 FARELLI'S CARD MAGIC

Throwing Cards with Both Hands : No Pack Used

As I write these lines it occurs to me that it would be possible to throw a card
with either hand, first one and then the other, giving each card the required
“return spin.” The card thrown by the right hand would be caught by it, leaving
the left hand free to catch its card. This would no doubt be easier than “slapping”
both cards back on to the pack with the same hand.

Possibly this notion will appeal to readers who may happen to be ambidextrous !

Card Caught with Hand at Side

This idea suggested itself to me while watching a juggler performing with
straw hats. I have done it many times with success.

Throw a card in the usual manner and immediately drop the right hand to the
side. As the card returns, take a step forward and catch it between the finger and
thumb, keeping the arm straight at the side. Do not look at the right hand.
The back of the hand must be towards the floor ; the thumb upwards.

The hat-juggler to whom I have referred did this several times in succession,
using a “ sombrero.” Each time the hat returned a sort of “ gale of wind ”
effect was made from the side. This created a big laugh. I cannot recall the
technical name of this instrument, although it is a well-known stage “ prop.”

Throwing Two Cards Together : No Pack Used

This is mentioned in The Art of Magic. The pack being placed aside, two
cards are held together as one, and thrown into the air. They remain together
until they start to return : then they separate. With practice it is possible to
catch one in either hand. I have given this “ move ” a good deal of study, but I
have never been able to perform it successfully if I threw the cards more than
ten feet at most.

When I throw them twenty-five, twenty, or even fifteen feet, one of them
invariably shoots away a great distance, either to the right or to the left, and I
find it impossible to catch them both.

I have tried bending and “ bridging ” the cards in various ways, but this only
makes matters worse.

Catching a Card with Scissors

I mention this well-known sleight in order to give what I consider a most
valuable “tip.” The whole secret, as mentioned by Mr. Ellis Stanyon in
Conjuring with Cards is to use very large scissors. When a schoolboy I practised
for several weeks using scissors, the blades of which were about three inches in
length and I was able to catch a card once in every four or five attempts. When
one day I happened to get hold of a pair, the blades of which were about six inches
long, and I found that I could catch the card every time !

I assume that the reader knows that the scissors should be held under the pack
by the fingers of the left hand in readiness to be seized by the right hand after the
card has been thrown.

Addition to Cutting a Card in the Air

Mr. Stanyon once showed me a pretty addition to this standard sleight. He
threw a card into the air and on its return flight he cut it into two halves with the
scissors. As both fluttered to the floor, he caught one portion between the blades ;
this he also severed. A very startling effect.

Loaded Card for " Boomerang"

Some performers fake a card by pasting a triangular piece of another card in
one corner. I have tried this “ wheeze,” but I did not find it of much use.

THE "ONE HAND DROP”

The Cards to Use

Houdini once said to me :— “Let me see how you spring a deck of cards.” I
did so a few times, using the old method explained in Modern Magic and in other

FARELLI'S CARD MAGIC 23

standard works, and Houdini said :—“Not bad, but I do it this way, with one
hand.” Taking my cards, he then executed the “ One Hand Drop ” described
in The Art of Magic and remarked :—“ Did you ever see that before ? No, well
you’ll never see it again ! ”

So far this prophecy has proved correct ; I never have—except when performed
by myself.

At the time of this interview, being unacquainted with Messrs. Down and
Hilliard’s monumental work, I was greatly impressed by the amazing skill dis­
played by Houdini, who performed the feat with great address. The “ drop ”
is undoubtedly extremely difficult of execution with new and stiff cards. I
found, after much experiment, that it becomes comparatively easy when soft or
well-worn cards are used. I saw this mentioned in The Sphinx some months
ago, so apparently other performers have made the same discovery as myself.

I must not omit to remind the reader that the knees should be bent as the cards
are caught.

The " Blindfold Drop"

When a pack of soft cards is available, I find it possible to execute the sleight
when genuinely blindfolded. In The Art of Magic the reader is instructed to
raise the right hand to the extent of five or six inches after the cards have started
to fall : then to swoop downwards thereby closing the “ concertina.” I consider
it better, when performing blindfolded, to omit the upward movement of the
right hand. I simply release the cards, and, without any perceptible pause,
strike downward. This is much easier.

It is a good plan to practise in front of a mirror—without the blindfold, of course.
In this way the student will get out of the habit of looking at the cards and he
will probably find, as I did, that the “ blindfold drop ” may be executed without
much additional practise.

When performing in public it is advisable to have two or three packs of suitable
cards in readiness should the first attempts prove unsuccessful.

Some performers may prefer to use a suitable type of fake blindfold when
executing this feat.

The Vertical " One Hand Drop"

I call this the Vertical Drop to distinguish it from the other version and also
because the surface of the cards is in a perpendicular position as regards the

floor during the manipulation. It is also described in The Art of Magic under the
heading, “ Second Method ” (page 33, Second Edition).

My “ tip ” in this connection is to hold the pack as depicted in Fig. 11, the
first finger being at the side and not at the narrow end beside the middle finger.
When the hand holding the pack makes its downwards swoop the forefinger
automatically closes the “ ribbon.” This flourish may also be done while
blindfolded.

E

24 FARELLI'S CARD MAGIC

The " Ambidextrous" Drop

It is also possible to execute either the “ One Hand Drop ” and or the “ Vertical

Drop ” with both hands simultaneously, and I have no doubt this could be done

while blindfolded. * ** * * *

As stated in a preceding paragraph, I eliminated, many years ago, all fancy
sleights from my show, and, consequently, many of those above described are now
beyond my skill. I feel certain, however, that were I prepared to devote the
necessary time to practise I could acquire the knack again, but the period of
life to learn difficult and intricate “ moves ” is early youth. One can find time

then. When one gets older, the business side of Magic (advertising, corres­

pondence, travelling, rehearsing new and showy effects, attending to a thousand

and one other details) takes up most of the waking hours. . ..

This reminds me of some verses which appeared in Mr. George Johnson’s
excellent magazine, The Magic Wand (No. 117, Vol. XII) ; they are signed

“ Cynicus,” but are the joint effort of the Editor himself and Mr. Bruce Hurling.
As these lines give a good idea of the attitude of the average professional to feats
of pure dexterity, I quote them here :—

When they’ve bought the latest gadgets and devoured the latest books,
When they’ve swotted up the back palm and the roll,

With their R.I.P.’s and X.Y.Z.’s or what not to their names,

Then it’s clear the ART of Magic’s in their sold.

They’re a clever lot of fellows for they know it inside out,
And I stagger at the knowledge in their pates :

How I envy them their technique, how I’d like to do the same,
Were I not too busy booking up the dates.

CHAPTER II

PASSES

THIS chapter will deal with a number of new or little-known “ twists ” and
notions in connection with the standard or double-handed pass. It will
contain also full instructions for the improved “ Bluff ” pass and a few
remarks regarding the practicability, or otherwise, of the Charlier method.

THE “DROP” to COVER the PASS

Some performers quickly raise the pack in order to cover the transposition of
the upper and lower packets. This, to my way of thinking, is entirely wrong.

If the reader will refer to Fig. 12, he will observe that the only part of the top
card which the audience can see is a triangular portion showing at the fork of the
right hand.

FARELLI'S CARD MAGIC 25

When the pass is made, the upper half of the pack moves downwards. It
should be obvious that if the whole pack is caused to travel in the opposite direction
(i.e., upwards), the movement of the visible triangular portion of the top card,
above referred to, can hardly escape notice.

Assuming that it is desired to conceal the pass by means of a quick movement,
rather than by subtle misdirection, I am convinced that the hands ought to be
lowered, or “ dropped,” so that the whole pack will travel in the same direction
as that in which the visible upper half moves.

If the reader will experiment in front of a mirror, or better still, if he will get a
brother wizard to demonstrate for him, I am sure that he will admit the truth
of my contention.

It will be unnecessary to remind readers of this book that when cards without
white borders (e.g., “ Steamboats ”) are used, there is less likelihood of the move­
ment of the visible triangular portion of the pack being seen.

A COMMON FAULT

Mr. V. Beestonn, writing in the columns of The Magical Monthly (July, 1926),
observes that a common fault consists in shooting out the first finger of the left
hand just as the pass is made, as shown in Fig. 13. In order to eradicate this
error Mr. Beestonn advises that “ the index finger, with the others, must be firmly

pressed upon the cards whilst the lifting of the upper half is actuating.” He
adds :—“ If you have developed this fault it is easily overcome by determination
and practise ... I confidently state that if you will make the pass (slowly
at first) three hundred times per day, for two weeks, it will for ever have disappeared.”

Another way to overcome this defect is to curl the forefinger under the pack.
This is, of course, a rather clumsy expedient, but it is easy and far better than
letting the finger dart out, thereby making it manifest to all that some secret, or
supposedly secret, manipulation has taken place.

I have noticed that American performers, as a rule, do not possess the bad
habit in question. The reason for this is not far to seek. They almost invariably
insert the third finger, instead of the little finger, between the two halves of the
pack. In this way the forefinger is given some work to do and the tendency it
would otherwise have to shoot out does not exist.

Personally when using a pack of fifty-two full sized cards, such as “ Bicycles,”
I insert the third finger between the two portions of the pack, but with the smaller
“ Bridge ” cards, now in pretty common use, I insert the little finger as advised
in the standard English treatises on card conjuring. This seems to me to be much
neater and more natural.

TURNING THE PACK TO HIDE THE PASS

Mr. Jack Merlin in his manuscript “ and a Pack of Cards ” tells us that he
prefers the Hornmann pass to the standard method as the necessary transposition
can be made as the pack is turned face upwards.

A slightly similar move is described by Dr. C. Gautier (to whom I have already
had occasion to refer), in connection with the regulation pass in everyday use.

26 FARELLI'S CARD MAGIC

The author states that it is also explained by Ponsin in his “ Supplement ” and
as the latter wrote over seventy years ago the manœuvre is certainly far from
new, but I think it will be a “ novelty ” to most readers as I cannot recall having
seen a description of it in any work in the English language.

Inserting the little finger of the left hand between the upper and lower portions
of the pack, turn it face upwards towards your right as illustrated in Fig. 14, at

the same time calling attention to the bottom card. As you turn the pack face

downwards (i.e., towards your left) you will find it an easy matter to make the

pass in an indétectable manner.

This subtle manœuvre should prove useful in the old “ Jumping Aces ” in

which one black ace is placed on top of the pack, the other on the bottom and the

two red in the centre. By means of the pass these cards are caused to change

places repeatedly.

I might mention, en passant, that I do not think it is a wise or artistic proceeding

to tell a spectator that a card which he has just placed in the centre of the pack is

not on the top or bottom thereof. No useful purpose is served, as far as I can

see, by suggesting to him that such a thing might be possible. Of course, he may

have heard of the pass, but why remind him of its existence ?

The above observation applies to entertainments given for an ordinary audience

and not to the occasions when a conjurer appears before a small gathering of

highly qualified and skilful brother wizards like the members of the “ Magic

Circle ” or of the “ Magicians’ Club.” When “ conjuring for conjurers ” almost

any otherwise unorthodox proceeding is admissible.

Even when appearing before a “ lay ” audience, there is no reason why

a performer should not remark, should he wish to do so :—“ After the shuffling

of the pack by this gentleman, it is just possible that the chosen card is now on top.

Let us see .. . It is not in either of those positions. Very good. Let us

proceed with the experiment.” This is not the same thing at all. What I am trying

to convey is that a magician should not expose a secret merely in order to have

the satisfaction of proving that he is not using that particular method.

THE " MOVE ” THAT MYSTIFIED DOWNS

Under the above heading the late Dr. Elliott described, in the columns of The
Sphinx, his version of the standard pass. I cannot recall the date of the issue
in question and I do not care to go to the trouble and expense of travelling several
hundred miles to consult the files of that periodical which are in my library in
Scotland. I feel pretty certain, however, that Dr. Elliott’s article appeared before
the War. Consequently, the effect under consideration can scarcely be regarded
as a novelty.

Although not new, it is practically unknown. Quite recently I demonstrated
it to three world famous card manipulators who confessed that they had never
seen it before. I may add that I have shown it to magicians practically all over
the world and that not one in twenty claimed to know the method. No apology,
therefore, should be needed for its inclusion in these pages.

It was first shown to me by Houdini who completely mystified me with it and
stated that he knew one man who could do it equally well, namely, Dr. Elliott.

The effect was given its somewhat peculiar title on account of the following
paragraph which appears in Chapter IV of The Art of Magic :—

HOUDINI’S TORN CARD TRICK.
“ . . . At this point we may say that Mr. Houdini performs the

conventional two-hand shift noiselessly and invisibly. It is impossible

FARELLI'S CARD MAGIC 27

for the sharpest eye to detect the slightest movement of the packets as they

are transposed, even though the performer accomplishes the movement

directly under the spectator’s nose. The ease and celerity with which Mr.

Houdini makes the shift is remarkable, and goes to prove that there is no

limit to the dexterity that may be attained. Houdini’s mastery of this

sleight is the result of fifteen years of assiduous practise . . .”

I quote these lines not as a criticism of Messrs. Hilliard and Downs or of their
wonderful book—which no one could possibly admire more than I do—but
uniquely to enable the reader to realize the enormous value of the “ move ” under
consideration. It is undoubtedly one of the greatest secrets in Card Magic.*

In order to accomplish the sleight no extraordinary digital ability is required,
the secret manœuvre being made very slowly. It is more a matter of misdirection
and showmanship.

WORKING

a. Hold the pack exactly as in the standard pass (Modern Magic) inserting,
however, the third finger of the left hand instead of the little finger
between the upper and lower packets.

b. When squaring up the pack completely cover the top card with the
palm of the right hand. Fig. 15.

c. Move the right wrist about an inch and a half, or two inches, to the
right and slightly downwards, causing the upper packet to travel in
the same direction. (In a sense, the cards are palmed, but the fingers
of the left hand retain their grip thereon.)

d. Now comes a very important detail. With the tip of the right thumb,
touch the ball of the left thumb. Fig. 16. Let it remain there.
Do not remove it for a single second.
Note.—Moves b, c and d blend into each other. There must be
no pause or fumbling.

e. In this position (Fig. 16) the onlooker gets a view of the top card
of the lozver packet which he takes to be the top card of the pack itself !

f. With the fingers of the left hand, slowly (very slowly) draw the upper
half of the pack, which is entirely concealed from the audience by the
right hand, under the lower portion.

g. The movements are exactly as in the double handed pass, but, in
addition
i the right thumb must not move,
ii the right hand must be stationary, and finally,
iii there must be no “ swing ” or jerk.

h. It goes without saying that the pack must be held in such a way that
the movement of the fingers of the left hand be hidden from
the audience. Experience alone will teach you how to do this. There
must be nobody on your left.

This move is described in Elliott’s Last Legacy, but I cannot remember if the

*While engaged on this work, I received a letter from Mr. Hilliard to the effect that a second
volume of The Art of Magic is in course of preparation. This is indeed good news to all magical
enthusiasts.—V.F.

28 FARELLI'S CARD MAGIC

explanation is complete or not. I rather think that some details are omitted.
It is mentioned in Dr. C. Gautier’s La Prestidigitation sans Appareils.

Any reader who may care to go to the trouble of acquiring this subtle move
will quickly get a reputation, amongst his brother magicians, of being a highly
accomplished and extremely skilful card manipulator, nor will such reputation
be undeserved, provided the sleight be done cleanly and well. It should not be
forgotten, however, that although this may be a most perfect move for “ close
work ” that there are better passes for the stage.

Dr. Elliott’s Presentation

I once had the pleasure of meeting Dr. Elliott, who presented the effect in the
following way :

I He allowed three spectators to choose a card each and told them to
memorize them.

II These cards were returned to the pack, one by one, by the selectors
and a “ break ” was held either with the third or little finger, I cannot
remember which.

III Addressing a fourth spectator, Elliott remarked :—“Hold out your
hand flat.” As he said these words he illustrated what was meant
by holding out his own right hand, palm upwards.

IV He then squared up the pack and slowly made the pass as already
described in paragraph /.

V Finally he dealt the selected cards face upwards on to the helper’s
hand.

Dr. Elliott’s reason for asking the spectator to extend his palm was to have some
plausible excuse for holding his own hand in the somewhat rigid fashion necessary
for the execution of the pass in question. There was no hesitation. The extended
right hand “ swept ” back to the pack and, in one slow movement, did what is
described in paragraphs b, c, d, and f.

The Rubber Band Version

The “Move that Mystified Downs” may also be performed with a rubber
band placed breadthwise round the pack. The band must fit fairly loosely and
it is desirable that it be of similar colour to the back of the cards, otherwise it
will be noticeable that it gets much thinner after the upper packet has been drawn
away, as explained in paragraph c and illustrated in Fig. 16.

It is as well to use a “ short ” card for this effect. A spectator may then be
allowed to snap the band round the pack himself. The card can easily be found
by riffling with the right thumb, and the third finger of the left hand can then
be inserted between the upper and lower halves of the pack.

It should be unnecessary to point out that the helper should be instructed
to place the card somewhere about the centre of the pack.

The “ Weyer ” Version

I am sure that the expert will be interested in this “ twist ” on the standard pass.
The late Alexander Weyer was an exceedingly clever card conjurer, famous all

FARELLI'S CARD MAGIC 29

over the Continent of Europe and the Near East, but practically unknown in

England and America.
Although “ Alex ” Weyer was an intimate friend of Harry Houdini’s, he had

no knowledge of the Houdini-Elliott “ move ” : nevertheless, his version of the
pass bears more than a slight resemblance thereto, hence its inclusion in this
section.

I. Stand with the right side to the audience holding the pack in the
regulation manner, but with the narrow edges of the cards almost
perpendicular to the floor. Fig. 17. In this position the audience
can see a triangular portion of the top card.

2. Keeping the fingers in position, raise the right wrist thereby completely
hiding the whole pack. Fig. 18.

3. Make the first movement of the pass, that is to say, draw away the

upper portion. Do not, however, bring it under the lower half.

4. As soon as this is done, and still keeping the fingers in position, lower
the right wrist. The appearance of the pack, from the observer’s
point of view, is exactly as in Fig. 17, to which the reader is again
referred. In reality the upper half of the pack is concealed by the
right hand, but as a triangular portion of the top card of the lower
half is visible it appears that no change has taken place.

5. Complete the pass under cover of the right hand.
Unlike the Houdini-Elliott “ shift,” the above series of movements, which
Weyer himself taught me, must be done with the greatest rapidity and is by no
means easy of execution. He usually employed this pass as a “ colour change ”
and produced a very convincing illusion therewith. When used for this purpose,
a pause should be made after drawing down the upper packet. See paragraph 3.

THE IMPROVED “ BLUFF ” PASS

For an audience composed exclusively of magicians the “ bluff ” pass is even
more effective than the “ shift ” just described. I first came across it in
Westminster Wizardry, but whether the author, F. Montague, M.P., is the inventor
or not, I am unable to say.

I refer to it here to indicate a few little improvements, or what I consider to be
such, which I have introduced. In the original version it was not possible to

30 FARELLI'S CARD MAGIC

use a complete pack of fifty-two cards. This appeared to me to be a defect which
I proceeded to eliminate to the best of my ability.

I take this opportunity of advising all readers who may disapprove of “ that
futile thing, ‘ conjuring for conjurers ’ ” (as Mr. Charles Waller puts it) to skip
this section. It will be of little interest to them and of no practical use whatever.
On the other hand it is just the thing to “ spring ” on any magician one may chance
to meet.
WORKING

a. Hold the pack in the left hand as illustrated in Fig. 19, in such a way
that the audience get a good “ end-view ” of the cards. Do not,
however, call any particular attention to the thickness of the pack.
Note the position of the forefinger at the corner. The three remaining
fingers are flush with the top card.

b. Fan the pack and have a card selected. Then square up the cards
and hold them as in Fig. 19.

c. Remark :—“ Please put it back.” As you say these words, bring up
the right hand to the pack and conceal the cards completely. Fig. 20.
Note.—No part of the top card must be visible. The tips of all four
fingers of the right hand are on a level with the bottom card.
The right thumb must be hidden. See Fig. 20.

d. When the pack is concealed from view :—
i The first finger of the left hand moves upwards from its original
position until it is flush with the top card of the pack.
ii The left thumb covers the left corner.

iii The middle, third and little fingers of the left hand rise above the
edge of the pack which is canted slightly forward.

These details are shown in the following illustration (Fig. 21) in which the
right hand is removed for the sake of clearness.

e. Now comes the important move. With the right hand make the
gesture of lifting off the upper half of the pack. In reality you take
nothing at all.
Note.—The reader is again referred to Fig. 20. Notice that the right
thumb cannot be seen. If the spectator could see any portion
of the thumb, he could not help observing that nothing is held
in the right hand.

f. I now come to a point of the greatest importance and which I find
extremely hard to explain. To avoid confusion I have omitted it
from the preceding paragraph (e).
As the top half of the pack is apparently raised by the right hand, this
hand moves about five inches towards the body. At the same instant
the left hand advances towards the spectator, about seven inches, and
is lowered about two inches.
Note.—This is one of the principal moves in the sleight. Please
read the instructions again before proceeding. I again point
out that the pack is inclined slightly forward. It now appears
to be much thinner. This is due to the edges being concealed
and to the fingers being above the level of the top card.

FARELLI'S CARD MAGIC 31

g. Instruct the spectator to put back his card (paragraph “ c ”). Of
course he imagines that he places it in the centre. When this is done,
apparently replace the upper half on the lower.
The necessary “ feints ” are the reverse of the previous ones. The
left hand (containing the whole pack) rises and approaches the body :
the right hand drops and goes forward to meet the pack.

h. The position is again as in Fig. 20. Go through the movements of
squaring up the pack and as you do, raise it to the tips of the fingers
and thumb of the left hand, as shown in the next illustration (Fig. 22).
Continue the squaring up movement with the thumb and middle
finger of the right hand. This is also shown in Fig. 22.

Although no sleight of hand, in the strict sense of the word, is used, I trust that
the reader will not conclude that this manœuvre is easy to perform. It is not.
Considerable practice is required to make the various moves blend into each
other and to produce a perfect illusion.

The best plan is to practise in front of a mirror, actually removing and replacing
the upper half of the pack and watching the effect produced. The reader should
then go through the “ feints ” paying particular attention to the numerous details

given in the preceding paragraphs (a to h).

When properly done, it should be impossible for anyone, even should he be
acquainted with the secret, to say with certainty whether the upper half has been
removed or not. Obviously this “ pass ” cannot be performed with spectators
standing on the right or left of the magician.

I hope that the reader will not risk giving a demonstration until he is quite
satisfied with the results he obtains in front of the glass.

I have shown this method to professional magicians, some of them world-
famous card manipulators, not once or twice, but perhaps a dozen times in
succession. They were completely mystified and said it was the “ slickest ” move
that they had even seen. Of course, I have met a few conjurers who were already
acquainted with the stratagem employed, but, strange to say, they were all amateurs.

I would strongly advise the enthusiast to refrain from showing this pass to anyone
who is not himself a conjurer, or to people accustomed to watching card tricks,
such as a magician’s relations or persons in his immediate “ entourage.” These

fortunate (!) individuals—who for years past have known the formula, “ Take
a card ! ”—will fall easy victims and will highly appreciate the apparently

phenomenal skill displayed.

Mr. Montague, referring to this pass, tells us that it is “ bluff that works."

Quite true, it works unbelievably well, but . . . only with magicians . ..

THE " CHARLIER ” PASS

Mr. Jack Merlin in his manuscript, “ and a pack of Cards,” writes :—“ The
Charlier or one hand pass is impossible as there is no way to my knowledge to cover
it without excessive movement, which is at all times to be avoided.”

32 FARELLI'S CARD MAGIC

Dr. Camille Gautier, the author of La Prestidigitation sans Appareils, is of
much the same opinion and does not advise its adoption or consider that it will
ever become popular in France.

Mr. John Mulholland, the Editor of The Sphinx, writing in the columns of that
periodical (February, 1929), points out that misdirection may be produced in
several ways : verbally, by pantomime or by duplication of sound, and adds :—
“ Charlier’s pantomime when rapping high upon a wall, as if to call a spirit, brought
the eyes of the spectators high in the air. Without being seen his other hand could
then make his one-handed pass with cards easily, and, what is more important,
slowly.”

The " Veneri" Move

The only performer I ever met who turned the Charlier pass to any practical
account, other than that of a mere flourish, was my old friend the late Ernando
Veneri of Glasgow, Scotland.*

He presented it as a method of shuffling the cards with one hand. In this way
the audience would become accustomed to the manipulation and took it to be a
habit, or mannerism, he had while talking, which he did with great “ brio ” and
volubility.

Later he would use the sleight quite openly for the purpose of bringing a chosen
card to the top of the pack and this without giving rise to any suspicion. I rather
think he used a “ wide ” card to locate the position at which the selected card
had been returned, but a bridge would do equally as well.

When Veneri employed this sleight to bring a card to the top of the pack he
was in the habit of doing it once only. Possibly the expert may disagree with me,
but I think it would be more illusive to perform it two or three times, taking care
to locate the “ wide ” card on the last occasion.

CHAPTER III

SUBSTITUTES FOR THE PASS

IN this chapter I shall describe a number of stratagems designed to bring a
selected card to the top or bottom of the pack without making the pass.
I shall include also a few “ get-aways ” devised to eliminate the sleight in
question when about to force a card.

THE "MAHATMA” SUBSTITUTES

I give the following “ moves ” the above title as they are based on a method
described in Mahatma, a long defunct American magical periodical. They are
extremely easy of execution, “ smoothness ” rather than skill being required.

First Version

(Shuffling to the bottom.)
a Hold the pack face downwards in the right hand, and, with the right
thumb and the fingers of the left hand, fan the cards towards the

LEFT.

b. Get a card freely selected and then returned to the pack which still
fanned towards the left. Arrange matters so that the card be inserted
about nineteenth or twentieth from the top.

c. As the card is returned, slip the little finger of the left hand under it
and close the fan.

*Since I wrote the above lines, Mr. Mulholland has shown me an ingenious little trick, based on
the Charlier pass, which I shall describe in Chapter XII under the heading “ The "Do-it-yourself
Discovery. ’ ’—V. F.

FARELLI'S CARD MAGIC 33

Note.—The position is as follows. The pack is in the left hand in
the usual position for shuffling. The chosen card is at the
bottom of the upper portion which consists of about twenty
cards. The little finger of the left hand separates these portions.

d. Undercut at the “ break ” held by the little finger, and, in a casual
manner, shuffle off on to the packet in the left hand. The selected
card is now at the bottom of the pack.

Second Version

(Shuffling to the top.)

This is a little more difficult than the preceding version, but more useful.
i Hold the pack in the right hand, and, with the thumb of this hand
and the fingers of the left, fan the pack to the left.

ii After a card has been selected have it returned to the pack—which is
still fanned towards the left-—taking care that it be inserted about
fifteenth from the bottom.

iii Slip the little finger of the left hand above the chosen card. Close
up the fan and seize the pack with the right hand, holding a “ break ”
at the near end with the right thumb.

Note.—The state of affairs is as follows. The bottom card of the pack
is towards the right palm. The upper portion of the pack,
consisting of about thirty-seven cards, is on the performers
left, the lower portion being on the right. The top card of
this “ half ” is the selected one.

iv Shuffle the cards into the left hand until you come to the break, then
drop the small packet on to the other cards. This brings the chosen
card to the top of the pack.

Third Version

(Shuffling to the top.)

1. A card having been chosen, hold the pack face downwards in the
left hand in the regulation manner.

2. With the right hand cut off about three quarters of the pack and get
the selected card placed on the lower portion. Replace the upper
packet and as you do so insert the little finger of the left hand between
the two portions. The position is exactly as if you were about to make
the two-handed pass.

3. Now, still keeping the little finger between the two portions, turn the
pack face upwards towards your right. Fig. 14.

4. With the right hand under cut the now lower portion (the original
top half of the pack which consists of about forty cards) and shuffle
off on to the left hand packet. The selected card is now on the top of
the pack against the fingers of the left hand.

If I remember rightly, this method (the Third Version) is the one originally
described in Mahatma, a copy of which I purchased some years after it was
published. I was then a young schoolboy, struggling with the more elementary
sleights, and I can safely say that it made me a Card Conjurer !

THE BAGSHAWE SUBSTITUTE

The following method is one used and recommended by Mr. Edward Bagshawe,
who has kindly given me permission to include it in these pages.

a. Holding the pack in the usual position in the left hand, with the right
hand cut off about twenty cards from the top. Get the selected
card placed on top of the left hand portion and replace the upper
packet, inserting the little finger of the left hand between the two
halves. Now hold the pack vertically in left hand, facing towards the
left, as seen in A, Fig. 23. A, B, C and D in Fig. 23 all show view
of the narrow back edges of the cards—i.e., the edge towards performer’s
body. The packets into which the cards are divided during the

34 FARELLI'S CARD MAGIC

shuffle are shown by the numbers 1, 2, 3 and 4, and one unnumbered
packet is shaded in the illustrations.
b. Grip the cards with the right thumb on back narrow edge and fingers
on front narrow edge, as seen in B, Fig. 23. Raise cards as shown,
leaving about ten cards in the left hand (shaded packet). It will be
observed that the right thumb automatically keeps the “ break ” where
the chosen card is.
c. Allow packet remaining in the left hand to fall towards the fingers of
that hand. Now with the right hand drop a packet of cards (marked
I) into left hand, as seen in C.
d. Raise the right hand and allow the cards in the left hand to fall towards
the left. Now drop No. 2 packet as shown in D. This leaves you
with one lot of cards remaining in right hand, the two halves of which
are shown by the numbers 3 and 4. Raise the right hand and allow the
cards in the left hand to fall towards the fingers of that hand. Drop
packet 3 on to the face of these cards. Finish up by dropping packet 4
on to the face of these cards also.

Fig. 23
The above moves completed, it will be found that the top card of the pack is
the selected card at which the “ break ” was first made. The moves take only a
few seconds to perform, and give the effect of a genuine shuffle being commenced.
The shuffle may be continued by any method which leaves the top card undisturbed.

Note.—Although the pack is divided into five packets during the moves
illustrated it will be understood that only one initial “ break ” is
necessary.
As I state in another chapter, I do not, as a general rule, care for the type of
shuffle in which cards are dropped alternately above and below the packet held in
the left hand, but I am bound to admit that in this particular case, the working is
extremely smooth and that everything appears perfectly normal.

THE “RIFFLE” SUBSTITUTES

Using a " Longitudinal Bridge "

This is a little idea of my own that works successfully, but which I discarded
many years ago owing to the fact that it is necessary to “ spring ” the cards from
hand to hand.

Before commencing the experiment make a longitudinal “ bridge ” in the upper

FARELLI'S CARD MAGIC 35

half of the pack, so that when looking at the ends (not the sides) of the cards, they
appear like this :

Get a card selected, taking care that one of the lower half, namely, one of the
“ flat ” cards be removed.

Cut the pack at the bridge and have the card replaced on the lower half. Square
up the pack, pressing it with the left thumb so that the curve of the upper cards
will not be noticeable.

Riffle the pack with the fingers of the right hand and then spring the cards from
the right hand into the left. This you can do two or three times without destroying
the longitudinal bridge. The springing of the cards makes it obvious to all that
you hold no position in the pack and leads a conjurer to believe that no “ bridge ”
can possibly be employed.

To bring the chosen card to the top, divide the pack at the break and riffle
one portion into the other. Figs. I and 2.

Using the Veneri " Flesh" Break

The general routine is similar to the above method, but the cards cannot be
sprung from hand to hand and no bridge is used.

Hold a division by means of the “ Veneri Flesh Break ” (Fig. 59, Chapter VIII)
above the selected card. Pass the cards into the right hand and retain the break
with the right thumb at the near end of the pack.

Divide the pack at this point and riffle one packet into the other in such a way
that the chosen card will fall on top of the pack. Figs. 1 and 2.

The “STRIP” CUT SHUFFLE SUBSTITUTE

This is a version of one of Erdnase’s well-known card table artifices. When
cleanly performed it is extremely illusive.

Get the chosen card returned to the pack and insert the little finger of the left
hand above it.

Seize the pack, breadthwise, with the right hand, back upwards, the thumb
towards your body. Fig. 37 post. This thumb must hold the break. Remove
the left hand.

Holding the palm of the left hand upwards, proceed to “ strip ” cut the cards in
the usual manner until you come to the division. Naturally, this brings the selected
card to the top of the pack.

ELIMINATING THE PASS FOR FORCING

The standard text books instruct the learner to note the bottom card and then,
by means of the pass, to bring it to the centre in readiness to be forced. As a
matter of fact, many professional performers eliminate the pass altogether. The
most usual methods are the following.

The " Strip" Cut

Having taken note of the suit and value of the bottom card, merely “ strip ” cut
the pack in the usual way, insert the little finger of the left hand between the two
portions and the result will obviously be the same as if the pass had been made.

" Sighting"

Another plan is to insert the little finger of the left hand midway in the pack,
and, under cover of a suitable gesture, to “ sight ” the card on the bottom of the
upper packet, namely, the one above the little finger.

This is not so easy as it may appear. Great care must be taken or the manœuvre
will be suspected.

Shuffling to the Centre

Having made a mental note of the bottom card of the pack, which lies face
downwards on the left hand, take the cards in the right hand and start to shuffle
into the left hand in the usual manner.

When about twenty cards remain in the right hand, throw this packet on to that

36 FARELLI'S CARD MAGIC

in the left, forming a “ step ” on the near side of the pack—a sort of “ in-jog ”
with twenty cards.

Under cover of squaring up the pack with the right hand, insert the little finger
of the left between the two portions. The required card is now above this finger.

By means of the “In-jog"

Having taken note of the top card of the pack, perform the following shuffle.
Undercut about three-quarters of the pack. “ In-jog ” one card. Shuffle
off to the left hand packet. As you square up the pack with the right hand, raise
the protuding card with the right thumb and insert the little finger of the left hand
under it. The card to be forced is now under the little finger of the left hand.

Pack Cut by Spectator

This is a little idea of my own.
Having first of all caught sight of the bottom card of the pack, place the latter,
face downwards, on the palm of the left hand, leaving the fingers free.
Request a spectator to cut the pack into two portions about equal. The result
will be as shown in Fig. 24 except that the right hand of the performer will not
be touching one of the packets.

With the right hand seize the portion which is towards the left wrist (Fig. 24),
namely, the original lower half of the pack at the bottom of which is the card that
you previously “ sighted.”

Partially close the left hand thereby sliding the original top half of the pack
from the fingers into the palm. Place the packet you hold in the right hand on to
the one in the left, inserting the little finger of the left hand between the two.
Naturally the card it is desired to force is now above this finger.

Hard as it may be to believe, I have puzzled professional magicians with this
daring and simple manœuvre. They could not make out how I was able to locate
the required card as the pack had been cut by a spectator. It is easy to bluff a
conjurer !

I may add that I used this method for many years with unfailing success, but
I recently decided to discard it with a view to “ speeding up ” my card act.

The " Continental" Cut

The following method, which I hit upon a few months ago, is similar in many
respects.

Extend the left hand, on which lies a previously shuffled pack, to a spectator,
requesting him to cut. As soon as he has removed the upper half, pass the packet
in your left hand (i.e., original lower portion) into your right.

With the left hand take back the packet held by the spectator. Place the
portion you have in your right hand on top of the one now in your left, and, as it
is a question of forcing a card, insert the little finger of the left hand between them.

This is, of course, a genuine “ cut ” and it is in general use in some continental
countries amongst card-players, even when they are seated at a table. For that
reason it may be considered superior to the version described in the preceding
Sub-section, the entire procedure, from the layman’s point of view, being quite
normal.

It must be easy for a “ gambler ” to have things all his own way when this
method of cutting is employed !

FARELLI'S CARD MAGIC 37

CHAPTER IV

FORCING

THIS chapter will deal with a few common faults or “ imperfections ” in
card forcing and in it will be described also a number of new or little-known
expedients, original and otherwise

TIMING

A lot of advice has been given in various works and magical periodicals on the
subject of card forcing, but I think it may all be summed up by saying that the
whole secret consists in timing. That is to say, as the conjurer fans, or rather,
“ runs ” the cards in front of his victim, he should arrange matters that the required
card be in the correct position to be seized conveniently as the selector’s hand
reaches forward.

BALANCE

Closely allied to the subject of Timing is that of Balance. To Mr. John Mul-
holland, the originator of this new principle, my thanks are due for permission to
include the following notes in these pages.

When about to force a card, the pack should be held fairly close to the body,
the weight of which should be on the left foot, the right barely touching the ground.

The cards are run in the usual manner and as the spectator’s hand reaches forward
to seize a card, the body sways slightly bringing the required card into a position
from which it may easily be removed by the helper.

The point is that the movement of the body is imperceptible, whereas any
change in the position of the hands would be at once noticed.

This method was communicated to me only a few weeks ago, consequently I

have not had the time or opportunity to test it thoroughly. But this I may say :

in Mr. Mulholland’s hands, the result is perfect . ..

SOME "IMPERFECTIONS”

Closing the Fan

Many performers cease all movement of the cards and immediately close the
fan as soon as the required card has been removed by the helper.

It seems to me that it is better to continue the “ running ” movement for a
second or two after the actual force has been made. This should lead the spectator
to imagine that he could have taken one of the other cards in the fan had he wished
to do so and should convince him that he has had a perfectly free choice.

Suggesting Liberty of Choice

Previous writers have pointed out, but it cannot be too often repeated, that it
is extremely unwise to tell a member of the audience to select a card or to take
any one he likes. This suggests to the mind of the spectator a liberty of choice
which it is highly advisable to avoid at all costs.

Probably the best formula is the familiar one :—“ Take a card.” I myself
usually remark :—“ Would you please remove a card from the pack ? ”

Of course this will not prevent the magician, after having successfully forced
the required card, from turning to the audience and saying :—“ This lady has
just selected a card from the pack.” A really artistic performer, however, would
refrain from remarking :—“ This lady has freely selected a card.” The use of
the word “ freely ” would suggest (not doubt subconsciously) that perhaps the
choice was not so free as it was made to appear.

Even when it is unnecessary to force, no useful purpose is served by telling a
spectator to select any card he likes, for should the conjurer require to influence
a spectator’s choice at some later time, the difference in the manner of “ turning the
phrase ” could hardly pass unnoticed.

Again, should any particular performer never force a card, he would do well to
avoid “ queering the pitch ” for other magicians !

38 FARELLI’S CARD MAGIC

Aggressiveness

Beyond a doubt aggressiveness is the greatest defect that a would-be “ card-
forcer ” can possess.

All over England, America and the Continent of Europe the fact that it is
possible to influence a spectator’s choice is general knowledge. The term “ la
carte forcée ” has passed into the French language and is used in a wide sense by
people in every walk of life.

The sleight has been explained in children’s books on conjuring and in magazines
and newspapers without number.

It should be manifest, therefore, that in the event of a performer being the
least bit aggressive, a spectator will endeavour, not unnaturally, to humiliate
him by refusing to select the proffered card. One must not conclude from this
remark that it is impossible to force a card without raising the helper’s suspicions ;
a great deal depends on the conjurer’s manner.

I am quite prepared to admit that should the performer be sufficiently aggressive,

a bully in fact (or as he would put it, “ a Master of Forcing ”), he will still be
successful, unless he should happen to run up against some particularly pugnacious
and pig-headed person. Then there is trouble.

This leads me to another subject . ..

Exposing on the Stage

Not only has forcing been exposed in the popular Press, but also, sad to say, on
the Stage and with vastly more harmful results.

The greatest culprits in this direction are professional card manipulators, many
of whom possess exceptional ability. These performers do not go deliberately
out of their way to expose the whole routine (passing the card to the centre, etc.)
but, by causing the same cards to be drawn repeatedly they do “ ram it down the
layman’s throat ” that it is possible to force a card.

Some conjurers, I am told, go to the extent of reversing the “ troublesome
Joker” and challenging a helper not to take the face-up card, thereby making
it obvious, even to the meanest intelligence, that the main part of the secret consists
in pushing the card into the spectator’s fingers at the required moment.

It may be contended that this sort of thing “ goes down great,” “ knocks them

cold ” and “ creats a riot.” Quite so. This may be Showmanship—using the
word in the widest possible sense—but it is not Artistic Magic.

Even the Devil, they say, is entitled to his due, so let us have a look at the other
side of the picture.

One must not be too hard on music-hall and concert performers or judge
rashly or uncharitably. It is easy for the owner of a theatre, a drawing-room
conjurer, or a man (like myself) who runs his own show, to lay down the law.
Such men, as far as their actual performance is concerned, can do practically
anything they wish, whereas music-hall artists, with the exception of a few world-

famous top-liners, must make good in about ten minutes, play up to the gallery

and PLEASE THE BOOKING-MANAGERS . ..

THE NERVOUS ASSISTANT

I feel pretty confident that every experienced card magician will agree with me
when I say that a spectator often hesitates through sheer nervousness when asked
to draw a card from the pack. Some unfortunate people cannnot make up their
minds on the simplest subject without due reflection.

Here is a little “ wheeze ” which I have been using for years on the stage when
dealing with individuals of nervous temperament : it has never failed once.

When a member of a volunteer committee hesitates when about to remove a
card from the pack, I remark in a whisper and with a glance at the audience,
the one word :—“ Quick.”

This is for stage work only. To use it in a private gathering would be
fatal ... in fact, it would be a new and novel method of exposing !

I trust that I have made my point clear. Everyone knows, even a self-conscious
spectator, that speed is the main thing on the stage and that one cannot keep an
audience waiting, hence there is a plausible excuse or reason for the whispered
injunction to hasten.

FARELLI’S CARD MAGIC 39

In a performance of a purely private nature it is harder to deal with such cases.
Probably the best plan, when time permits, is to allow of a perfectly free selection
and to perform an impromptu effect with the chosen card.

Some performers quickly chose the fan and make another attempt, while
others, without closing it, pass on to a less nervous or more obliging person.

CHOOSING A "FORCEE”

Experience alone will teach the novice how to select an easy victim. Personally
I can tell, by merely glancing at a person, if he is likely to prove a good “ forcée ”
or not. I should find it next to impossible to explain how I know, but I think

it is by the expression of the eyes. It seems to me, also, that if anyone watches
a conjurer’s hands too closely it is a sign that he knows something about card
sleights, or is naturally of a suspicious nature. Obviously such persons should
be given a wide berth when about to force a card.

Mr. S. H. Sharpe states that in his experience “ gentlemen are much more

tractable than ladies . . .” (The Magic Wand, No. 155, page 115), but I

find it easier to force a card on a woman than on a man.

A “ TIP ” FROM SPAIN

The late J. Partagas, of Barcelona, in his book El prestidigitador Optimus, gives
a “ tip ” that I have never seen mentioned elsewhere. He says it often happens
that when a magician is down in the auditorium, for the purpose of having a number
of cards selected, some spectator will endeavour to attract the performer’s attention
and offer to draw a card from the pack.

Partagas advises that such individuals should be ignored, maintaining that men
of this self-assertive type will never allow cards to be forced on them. I knew
this magician personally, and, I may add that, at the period his book was written,
he had about thirty years’ practical experience.

THE TABLE " SPREAD ”

Shortly before the War, L’Illusionniste, of Paris, published the following method.
The card it is desired to force must be placed on top of the lower half of the
pack, the latter being bridged thus:
The pack is then thrown on the table, lengthwise, and with a sliding motion,
the result being that the top card of the lower half is a trifle more exposed than the
other cards. There is, therefore, every chance that it will be chosen by an
unsophisticated spectator.

I have known of this stratagem since it appeared in the periodical named, but
I have never been able to turn it to much practical account. It is mentioned here
as it is possible that some readers may find it useful and also because it is, as far
as I have been able to ascertain, quite unknown to English-speaking magicians.

Dr. C. Gaultier states that this method was used successfully by the famous
“ Homme Masqué,” therefore it is to be assumed that the principle is workable.

The reader is referred to a note on “ How to Bridge ” in Chapter VIII.

A SIMPLE INFALLIBLE FORCE

This has the peculiarity that it can be performed with one hand only. It is
based on a very old method.

WORKING

Borrow a pack of cards and as you take it, face downwards in the left hand,
secretly note the bottom card. Put this hand behind your back, and, with the
right hand, catch hold of the lapel of the coat on that side.

Request someone to cut off about half the pack and so that he may be able to
do so, turn your back to him. As soon as he has removed the upper half, tell him
to shuffle it thoroughly.

You must now face the audience and say that you want the assistance of a
second spectator. As you make this statement, you quietly push the bottom card
(namely the one you have previously noted) to the right with the fingers of the

40 FARELLI'S CARD MAGIC

left hand, the thumb assisting the movement. By closing this hand the card will
be brought face upwards on top of the packet.

Again push the card to the right, this time with the thumb, the fingers keeping
it from falling. Once more close the hand : this will bring the card, back upwards,
on top of the packet.

These movements can be done without the slightest noise and take only two or
three seconds to carry out.

Instruct the second spectator to remove the top card of your packet. Naturally
you must turn your back to him for this purpose.

When he has done as requested, tell him to remember his card and to place it
in the half pack held by the first helper. Then give him the half pack you hold
and instruct him to shuffle them together.

In this way you have forced a card from a borrowed pack with one hand only.

Notes.—

1. The reason of obtaining the assistance of a second spectator is two-fold.
In the first place, it gives the performer an excuse for facing the audience
while he passes the card from the bottom of the packet to the top.
Secondly, it prevents the first helper from playing a trick on the
magician by exchanging the “ sighted ” card for one from his own
packet.

2. The old effect, upon which this is based, is similar in many respects
except that the performer had to put his right hand behind his back
to pass the bottom card from the bottom of the packet to the top.
As a matter of fact, this stratagem was not used for forcing, the card
originally noted being employed as a “ key.”

3. Mr. Merlin describes a move which closely resembles the one under
consideration. His plan is to have the card which it is desired to force
concealed in the waist-band of the trousers and to gain possession
thereof after the upper half of the pack has been removed by the spectator.

THE TOUCH METHOD

In a footnote to an effect in Hofzinser’s Card Conjuring (page 167) Mr. S. H.
Sharpe gives the following instructions for performing the Force by “ Touch ” :—

“ Fan the pack and allow a spectator to touch the back of any card.
The pack is divided at this point, the card to be forced being slipped by the
right fingers from the bottom of the pack to the bottom of the top half in
doing so; this packet being then turned face up and the front card
remembered.”

I mention this method à titre documentaire, but not having given the matter
sufficient study, I cannot offer any opinion as to its value. I assume that it must
be practical or it would not have been used by the great Hofzinser.

Personally I find that the greatest care must be taken to prevent the bottom card
from protruding, either from the far or the near end of the pack, as it travels under
the fan and I think that considerable skill would be required to execute the move­
ment in an indétectable manner.

In addition to this, it seems to me that if the assistant is allowed to touch the
cards at all he would not unnaturally wonder why he was not permitted to remove
the card he had indicated, without the “ fan ” being separated.

To my way of thinking it would appear more logical to give the spectator a knife
to thrust into the fan and thereby provide a plausible excuse for separating the
cards. I would suggest that the performer remark to the helper, after the insertion
of the knife :—“ Are you quite satisfied? Would you like to put the knife in
somewhere else ? No, you don’t wish to change your mind. Very good. Notice
that I separate the cards at the exact point where you have inserted the knife.”

The above are merely rough suggestions and are offered for what they may be
worth.

Note.—This sleight calls to mind a similar move described, if I remember rightly,
in More Novel Notions (by that excellent and prolific writer, Mr. Robertson-
Keene) for bringing a key card from the bottom of the pack to a position
immediately above a freely selected card.

FARELLI'S CARD MAGIC 41

The proceeding is extremely simple. All you have to do is to break
the fan at the point where the spectator withdraws his card and as you do
so to pass the “ key ” from the bottom of the pack to the bottom of the
upper half held in the right hand.

You then get the chosen card returned to the 'op of the left hand portion
and close the pack. In this way the key card is on top of the selected one
and no unnatural move has been made.

The difficulties which I have enumerated in connection with this
manœuvre when employed as a “ force ” do not exist in this case for the
simple reason that the helper has already seized his card and, consequently,
his attention is concentrated on it rather than on the performer’s hands.
I have always found this move practical and easy.

THE " PENCIL” FORCE

I have spent some considerable time in endeavouring to improve upon the
Knife Force and the following method is the result of my labours. A pencil,
preferably an “ Eversharp,” is required.

a. Having first of all “ sighted ” the top card of the pack, place the
latter face downwards in the left hand as if about to make the double
handed pass.

b. With the first and middle fingers of the right hand remove the pencil
from your pocket, remarking to a spectator :—“ I want you to take
this pencil and to stick it into the pack like this.” As you say these
words, illustrate what you mean by inserting the pencil into the far
end of the pack (the end away from your body) and holding it for a
moment in the position indicated in Fig. 25.

c. Withdraw the pencil and hand it to the helper with the first and middle
finger of the right hand. Do not use the thumb. Fig. 26. The point
of the pencil is towards your body, the other end towards the spectator.

d. The assistant having taken the pencil and having duly inserted it in

the pack, you inquire :—“ Would you like to withdraw the pencil
and put it in above another card? No, you are quite satisfied with
your choice. Very good. I remove the upper half. We shall not use
the exposed card, but the one below the pencil.”

42 FARELLI'S CARD MAGIC

e. As you say the words, “ I remove the upper half,” seize the pencil
between the first and middle fingers of the right hand as before (Fig.
25) and also the upper half of the pack. (This portion should be
gripped by the first finger and thumb.) With all four fingers of the
left hand press the top card of the pack in readiness for the slip.

f. Advance the right hand—which grips the upper half of the pack—
towards the spectator and as you do so reverse the packet, displaying

the “ face ” card. (Ten of Clubs, Fig. 27.) Under cover of this

movement the card it is desired to force is slipped from the top of the
upper packet to the top of the lower.

g. As you remark :—“ We shall not use the exposed card . . ."

(paragraph d), point to it with the first finger of the left hand. (Fig.

27.) Then with the point of the pencil indicate the now top card of

the lower packet, adding :—“ . . . but the one under the pencil.”

(Paragraph d.) This card you allow the spectator to remove himself.

Notes.—

i. This “ sure-fire ” force is indetectable and fairly easy of accomplish­
ment, but it is advisable, although by no means necessary, to use cards
without white borders.

ii. It looks quite natural to hold a pencil between the first and second

fingers of the hand, but the position would look exceedingly awkward
if a knife were used.

iii. The reversing of the upper packet effectively conceals the slip.

iv. It would also be possible to force a card by means of the “ Clean
Slip ” described in Chapter VIII, but I prefer the method using a
pencil as above outlined.

v. It should hardly be necessary to mention that as soon as the helper

has inserted the pencil (paragraph d) you should draw the pack away
from him so that he will release the pencil, without your having to
tell him to do so.

vi. The Standard Knife Force. As most readers will be aware, the
usual method of knife forcing is to bring the required card to the centre
and to hold a break with the tip of the first finger of the left hand.
The cards are then riffled by the right hand and the magician pauses
when he comes to the division. In most cases the knife will be inserted

at this point. Many performers prefer to use a “ short ” card, thereby

avoiding all necessity of holding a break.

vii. The “ Smith ” Knife Force. This subtle method was first mentioned
by Dr. A. Lindsay Smith in The Magic Wand for January, 1917,
and is described here for the benefit of any reader who may as yet be

unacquainted with its working.

The required card having been passed to a point about twenty from
the top, hold a break with the tip of the forefinger of the left hand,
then . . .

“ . . . proceed with riffling as above, and take care that the
knife is inserted below the point desired. Simply calmly slide your

FARELLI'S CARD MAGIC 43

top packet along the knife towards the person holding it, and take the

knife from him in that hand. At the same time drawing your lower

packet towards you. The effect is indétectable, and looks exactly

as if you had simply divided the pack at the point at which the knife

was inserted. . . (Page 4, A Dozen of Magic, by A. C. P.

Medrington, M.A.)

This is a most excellent method, but it is not fool-proof as there is

a danger, a remote one it is true, of the helper endeavouring to insert

the knife above the break.

CHAPTER V

FALSE SHUFFLING

TO the best of my knowledge and belief, the methods about to be explained
have never appeared in any work in the English language, with the possible
exception of the “ Lace-through Table Shuffle,” and I am confident that
the majority of my readers will find in the description thereof a number of “ twists,

slants and angles ” that are new to them.

Before going into the subject in hand, however, it might be well to discuss,

and if possible, to clear up a highly technical and no less important point in Card

Magic, to wit . ..

SHOULD CARDS BE SHUFFLED?

Mr. Hamilton-Heinke, the popular and ever-genial Vice-President of The
Magici ans’ Club, London, has long been of opinion that a card manipulator should
never shuffle the pack. He maintains that the average member of an audience
imagines that a conjurer can “ fix ” the cards in any way he likes by simply giving
the pack a careless overhand shuffle and that, consequently, no matter what
marvellous feat be performed, the spectators will be but little impressed and
will say to themselves, “ Of course he arranged the cards while shuffling ! ”

On the other hand, the late Dr. Byrd-Page, an enthusiastic and extremely
skilful exponent of the various Erdnase shuffles, held the entirely opposite view,
and I well remember a friendly discussion that these two magicians had on the
subject nearly twenty years ago.

It seems to me that the advice contained in the Latin tag, “ In medio stat virtus,”
or to translate freely into the language of Burns, “ Take aye the middle course,
might well be followed in this instance.

Personally, I dislike the form of hand shuffle in which small packets of cards
are dropped from the right hand, alternately above and below the portion of the
pack held in the left hand. It looks exactly as if “ stacking ” were taking place,
even when the shuffle is perfectly genuine.

Further, although it may sound like sacrilege to say so, I do not think that the
Erdnase system—or any other system for a matter of that—of “ in-jogging,
“ out-jogging ” or “ running,” is convincing for conjuring purposes. It should
be borne in mind that these ingenious manœuvres were devised primarily for
cheating at cards and Erdnase himself points out that it is extremely difficult,
although not impossible, to decieve when the company is at all suspicious.

It will be quite unnecessary to remind readers of this work that an audience,
even one composed of very young children, is naturally on the qui vive in the
presence of a magician !

On the other hand, I cannot see how a perfectly executed “ table riffle shuffle,”
an overhand shuffle (provided it does not take too long) or even a hand “ riffle
shuffle ” can give rise to suspicion.

I am perfectly willing to admit, however, that in some effects—such as, for
instance, my “ Master Speller,” it is far better not to shuffle or otherwise “ mess
about ” with the cards at all. The only “ mystery ” in most forms of the Spelling
Bee lies in the manner in which the chosen card is brought to the correct position
from the top of the pack in readiness to be “ spelt out.” It is manifest that if
the performer has previously shuffled the pack, the spectators will conclude—

44 FARELLI’S CARD MAGIC

either rightly or wrongly, as the case may be—that the card was placed in the

required position during the process of shuffling.

The same remarks apply, with perhaps equal force, to the familiar experiment

in which a previously selected card is caused to appear at a given number from the

top of the pack. The effect would be absolutely nil if the cards were mixed by

the performer after the number were chosen, but I cannot see what harm is done

by shuffling the pack, in a casual way, before the number be selected.

Mr. J. Merlin is in favour of the performer shuffling the cards. In the

manuscript to which I have already referred he writes :—“ I have found that

in describing an ‘ impossible ’feat the spectator invariably says the pack was shuffled.

To him it appears conclusive. Now as the spectator’s view is our ultimate goal

. . . I often use the haymow shuffle in connection with the outjog.”

My experience has been slightly different. I find that an audience is not

perfectly satisfied unless they are allowed to mix the cards themselves. This

does not mean to say that they are actually suspicious should the magician do the

shuffling, but they are not absolutely convinced that all is fair, square and

above board. I cannot remember hearing anyone say :—“ It was wonderful !

He gave the pack a good shuffle ! ” but I have often heard some remark like the

following :—“ I can’t understand it at all ! He allowed me to shuffle and cut

the cards ! ”

Anyhow, every man to his taste, it takes all sorts of conjurers to make a . ..

Magical World . ..

THE ROUMANIAN " FAN ” SHUFFLE

I give this false shuffle the above title for want of a better name and also because
it was shown to me by a Roumanian conjurer (M. Bernardo) who stated that it
was used extensively in the Balkans by “ gamblers ” which is, as most readers
know, a euphemism for a cruder word, sharpers.

WORKING

Standing with the left side towards the spectators, hold the pack in the left
hand in the usual manner for the ordinary hand shuffle, the thumb against the
top card, the remaining fingers touching the bottom card.

With the right hand undercut about half the pack. Place the lower edge of
this packet on top of the upper edge of the left hand packet.

Allow a few of the top cards to slip into the left hand. They are not allowed
to fall completely down, however, being prevented by the left thumb.

Slide the lower edge of the upper half, backwards and forwards, along the upper
edge of the lower half, apparently working one packet into the other, that is to
say, causing them to interlock. Do not overdo this “ feint ” : it should not last
longer than two seconds at most.

Raise the left thumb about half an inch and press on the small packet of cards
which was previously allowed to fall.

Curve the cards, still in the right hand, in towards the palm and fan them towards
your right. (Remember you are standing with your left side towards the
onlookers.) Fig. 28.

FARELLI'S CARD MAGIC 45

Close the fan by continuing the fanning movement. To do this it will be
necessary to change the position of the right hand to that shown in the next photo­

graph (Fig. 29) in which the inside of the fingers touch the upper edge of the fan
Take particular note of the position of the first finger of the left hand which acts

as a fulcrum or, rather, as a “ stop.”
When by this means (namely, by continuing the fanning movement) you have

closed up the cards as far as possible, finish the squaring up process with the
assistance of the fingers of both hands.

The result of this manipulation is that the pack is left as if merely cut.
The original lower half of the pack (now the top half) has been reversed, end for
end, except, of course, the few cards which were allowed to fall on to the left
thumb. They have not been reversed.
This sleight is very similar to one described in The Expert at the Card Table

(page 164), but in the “ Roumanian ” version the fan movement, which makes
the shuffle so illusive, has been added.

It takes some little practice to perform it neatly, but I can assure the reader that
it creates a perfect illusion. Its only disadvantage, in my opinion, is that the entire
procedure appears unusual, in these Islands at any rate.

The " LACE-THROUGH ” TABLE SHUFFLE

This shuffle is mentioned by Ernase and also by Merlin, but is not described
by them. As far as I am aware, no complete explanation of it has ever been given
in any work in English ; consequently, while most magicians have heard of the
sleight and many can perform it after a fashion, very few are acquainted with the
correct method of working as used by professional gamblers. It is the most
perfect of all forms of false shuffling and retains the entire order of the cards.

Learning the Sleight

a. Place the pack lengthwise and face downwards on a match-box as
depicted in Fig. 30.

b. Seize the cards loosely with both hands, the thumbs touching each
other at the near side, the forefingers touching (or, if necessary, over­
lapping) at the far side. Fig. 31.

c. With the fingers and thumb of the right hand grip about twenty-two
of the bottom cards, while the left hand performs a similar service
for the upper and slightly larger half of the pack.

The view as seen by the audience is still as in Fig. 31.
d. Separate the hands, each holding a packet. Fig. 32.

e. Let the hands approach, and holding the packets loosely, gradually
push one into the other, taking care that the original top card of the
pack (now the top card of the left hand half) be covered by a few

cards of the right hand packet. The reason for this wid appear later.
Note.—The little fingers of both hands may be moved to the ends of

their respective packets to facilitate the interlocking of the
cards.

46 FARELLI’S CARD MAGIC

f. Continue the movement until only about half an inch protrudes from
the left hand side. The position, from the audiences’ viewpoint, is
exactly as in Fig. 31, but the actual state of affairs is shown in Fig. 33,
which is a view of the cards as would be seen by the performer were he
to raise his hands.

g. The two thumbs are now touching each other as at first. Move them
apart until they reach the near corners of their respective packets.
Do not move the fingers. Cause both thumbs to travel very slightly
away from your body, and, using the forefingers as a fulcrum, cant
both packets in an outward direction.
This is illustrated in Fig. 33a, the hands being removed for the
sake of clearness. The position of the cards is again from the operator’s
point of view.

h. Bring the thumbs once more together.
i. With the little fingers of both hands press inwards (at the far corners

of the cards) thereby causing one packet to “ lace-through ” the
other.
j. Still keeping the hands in position, square up the sides—not the ends—
of the cards and the result will be that the original top half projects

from the (i.e., your) right hand side of the pack. Fig. 34 is a view
of the cards as would be seen by the performer were his hands raised
from the pack.

FARELLI'S CARD MAGIC 47

k. Still holding the hands as in Fig. 31, with the fingers and thumb
of the right hand grip the protruding portion, draw it to the right and
place it on top of the left hand packet.

Notes.—The entire series of movements is performed under cover of the fingers of
the hands and the appearance to the audience is that one packet is shuffled
into the other and that the pack is then given one genuine cut.
The reader will now understand the meaning of the injunction given in
paragraph e.

The match-box should be used only in the early stages of learning the
sleight. When some degree of proficiency has been attained, the cards
should be placed on a proper “ card cloth ” and perfect results cannot be
obtained unless it is a thick one of good quality. The fingers sink into
the pile of such a cloth and easily secure a firm grip of the cards.

After making the apparent cut, it is by no means necessary to place the
packet held in the right hand on top of the left hand half. If preferred,
one packet may be again pushed into the other, with, possibly, even more
illusive results.

Most English magicians riffle the cards when performing this shuffle,
but it seems to me that this proceeding is not so clean and that less cover
is afforded. Be that as it may, the method I have outlined is the one
in general use by “ Professional ” card-players, and everyone will admit
they should know !

THE INTERLOCKING SHUFFLE

This is similar to the “ Lace-through,” but it does not create nearly so perfect
an illusion although much easier of execution. For that reason it may be preferred
by the less expert.

Holding the cards as in Fig. 32, all one has to do is to work one packet partially
into the other (Fig. 34) then to draw it out and to repeat the manœuvre a number
of times.

In this case one half does not travel through the other.

THE " WATERFALL” BLIND SHUFFLE

This sleight is based on the “ Double Waterfall ” Shuffle described in Chapter I.
To execute it in a convincing manner the performer must adopt a special manner of
“ strip cutting ” and it is essential that the audience become more or less accustomed
to this variation.

The Oblique Cut

The usual method of strip cutting is to hold the pack face downwards in the
left hand as if about to make the Charlier pass, and, with the fingers and thumb
of the right hand (the back of which is towards the ceiling) to seize the lower
portion of the pack, draw it straight out towards the body and place it on top.

In this version the proceeding is the same, except that the lower half is drawn
away obliquely as indicated in Fig. 35.

The Shuffle

I. Separate the pack into two portions and riffle one into the other, as
shown in Figs. 1. and 2.

48 FARELLI'S CARD MAGIC

Notes.—a. You must start to riffle with the thumb of the right
hand, so that the bottom cards of the right hand packet
will be at the bottom of the partially interlocked pack.

b. The top cards of the left hand packet are released last,
so that they fall on top of the pack.

c. The details are of the utmost importance.

2. Perform the “ waterfall ” once as described in Chapter I and illustrated
in Fig. 3. After the cards have fallen they will be as shown in Fig. 3

3. Square up the pack with both hands, the right fingers concealing the
protruding cards. See Fig. 37.

4. With the little finger and thumb of the right hand draw out the
projecting cards—obliquely towards your body—and place them on
top of the pack. Fig. 38. The appearance to the spectators is that

you have given the pack a genuine “ Waterfall ” Shuffle and a genuine
oblique cut.
5. Seize the pack with the right hand. Fig. 39.
Notes.—A quarter turn to the left as the withdrawal is made helps to cover the
movement.
It should be unnecessary to point out that as the oblique cut is made,
the pack is held in such a way that the spectators obtain a view of the
top card only and not of the edges.

FARELLI’S CARD MAGIC 49

This is a very useful move with which to puzzle a conjurer. A good
way to present it is to have two stacked packs and to instruct your victim
to select one. Youthen ask him if he can perform the “Waterfall’' Shuffle
and while he is doing so you execute the “ blind ” version. This leaves
you with a pre-arranged pack with which to mystify your colleague.
Obviously one of the cards in his pack should be used in connection with
the effect you intend to perform.

THE " STRIP CUT ” FALSE SHUFFLE

I worked out the following move about two or three years ago to use in connection
with a stacked pack. It does not break the sequence and leaves the cards as if
merely cut.

POSITION

Hold the pack face downwards in the left hand in the position adopted for the
Charlier pass, but with the cards closer to the palm and with the forefinger at
the far end of the pack. Fig. 37.

WORKING

I. Advance the right hand, back upwards, as shown in Fig. 37. Under
cut about two thirds of the pack, the right third finger pressing against
the ends of the cards removed.

II. Slap—not too heavily—this packet on top of the cards in the left
hand, immediately drawing off the upper third of the pack. Fig. 40.
During this movement, the third finger of the right hand should press
against the end of the packet drawn off.

III. Slap—Very lightly—this packet on top of the pack and square up the
cards with both hands.

After the first cut has been made (paragraph 1), the remainder of the pack should
be allowed to drop into the palm of the left hand. Fig. 59 post will give an idea
of the position, but the fingers should not be closed and obviously no break should
be held, as illustrated.

This shuffle should not take more than a second and a half to perform, the time,
or rhythm, being : one, two, three. The left hand should be held on a lower
plane—so to speak—than the right. This is very important as is also the angle
which can only be found by experiment.

This apparent shuffle consists in one fair cut (paragraph 1) and a version of the
blind cut (To Retain the Complete Stock) mentioned by Erdnase on page 40 of
his famous work.

It should be done in an off-hand manner, and, with plain backed cards, is
absolutely indétectable. Even with cards having white borders it is extremely good.
Possibly this move will appeal to magicians who do not approve of a conjurer
shuffling cards, for I do not think that the most suspicious spectator could accuse
a conjurer of having “ set up ” a pack by means of this apparently casual
manipulation.

THE “MILKING” SHUFFLE

There are probably countless variations of this shuffle which is genuine in a
sense although it actually stacks the cards. The procedure is used extensively

50 FARELLI'S CARD MAGIC

by the “ Greeks ”* in certain card games, but the following is the only version
that I have seen of the slightest use to magicians.

Hold the pack face downwards in the left hand in the usual position for shuffling,
the fingers touching the face of the bottom card, the thumb on top.

Advance the right hand, and, with the thumb and fingers, draw off the top and
bottom cards simultaneously, the thumb taking the top card, the fingers the bottom
one. Fig. 41. Place these cards, face downwards, on the table and continue in
the same manner with the following twenty-four (24) pairs. This will leave you
with one pair of cards in the left hand and there will be a pile of cards on the
table.

Place the remaining pair together (i.e., without disarranging the order) on top of
the heap.

The pack will then have been genuinely shuffled, but it will also have been
“ run up ” or stacked.

A description of this manœuvre would be useless without an explanation of the
preliminary “ setting ” of the pack.

" Setting" the Pack

An example will make matters clear.
Let us assume that you want your pack to be in the following order, counting
downwards, after the shuffle :—

Ace, Two, Three......................................... Ten, Knave, Queen, King of Hearts.

Ace, Two, Three......................................... Ten, Knave, Queen, King of Spades.

Ace, Two, Three......................................... Ten, Knave, Queen, King of Diamonds.

Ace, Two, Three......................................... Ten, Knave, Queen, King of Clubs.

First of all arrange the pack in that order and place it on the table, face
downwards.

With the right hand remove the top pair, namely, the Ace and Two of Hearts,
and, without changing their order, place them on the palm of the left hand, face
downwards.

Take the next card (the Three of Hearts) and place it on top of the two cards
in the left hand.

The following card (the Four of Hearts) must be placed wider the packet in the
left hand.

The Five of Hearts goes on top.
The Six of Hearts goes underneath.

The Seven of Hearts goes on top, and so on alternately until the complete pack
is in the left hand.

If you have followed these instructions correctly, the order of the cards, counting

from the top, will be :—Queen, Ten, Eight, Six, Four, Two of Clubs . ..

the bottom card being the King of Clubs.

To bring the pack into its original order, perform the shuffle exactly as explained,

*A “ grec ” (written with a small " g ” means, in French, a card sharper ; when spelt with a

capital, it signifies a Greek. It would appear that this is the real origin of the familiar expression—
“ When Greek meets Greek.” At least it is more plausible than any other.—V. F.