Farelli's Card Magic

FARELLI'S CARD MAGIC 101

either from the top or bottom of the packet. (Personally, I palm from
the bottom, as described on page 144 in The Art of Magic.) Then
add :—“ And I trust that the gentleman on my right will also remember
his card.” As you say this, place the packet on the table, with the
left hand and fairly near the edge so that it may be picked up easily
by the assistant on the left. Addressing this man, remark :—“ There
is a packet of envelopes on the table. I want you to take one of them
and I shall ask this gentleman to take this pencil." As you say these
words, remove the pencil from your pocket with the right hand and
leave the palmed card there.

7. Except for working up the effect in a dramatic way—which is, from
an artist’s point of view, the most important part of the experiment—
the trick is practically over. For the sake of completeness, however.
I give my own routine and also the method I use for forcing the number
five.
Tell the assistant on the left to put the cards in the envelope and to
seal it up. Instruct the man on the right, who has the pencil, to write
the number “ 30 ” in large figures on the address side of the envelope.
Do not touch it yourself and make a great point of this, after it has been
sealed. Get the envelope held, with the number facing the audience,
by the two assistants. The man on your left should hold it with his
right hand, while the man on your right grips it with his left hand.

8. Forcing the Number.—Now, for the first time, introduce the white
cards and proceed to force the number five in the following way.
Request one of the assistants, seated near the foot-lights, to choose
any number between one and seven. For some reason for which I
cannot account, five is almost invariably selected. If so well and good.
If otherwise it is a matter of no consequence whatever. See Notes post.

9. The required number having been successfully forced, call the attention
of the audience to the fact that you do not touch the envelope at any
time and that it has been sealed by a spectator.
Approach the helper seated on the right and request him to blow on
the pack of white cards. Riffling these cards, say :—“ First card go ! ”

Proceed in the same way with the helper seated on the left, passing
the second card.

Then go behind the table and get each assistant in turn to blow on the
pack. This accounts for four cards.

Tell the audience that you will pass the fifth card yourself, but that
you will not touch the envelope. Riffle the pack very close to the
envelope, but do not touch it.

10. The Climax :—The next step is to stand at the side of the stage, near
one of the helpers seated close to the foot-lights, and from there to
address the audience, again calling attention to the fact that you do not
handle the envelope. Then ask the assistants who are holding the
envelope if it is still sealed. When told that it is, remark :—“ Please
open the envelope and count the cards, one by one, in a loud voice as
before. I think you will find that they have increased in number.”

Notes.— I can assure the reader that this version of the “ Thirty Cards ” produces
a. a very startling effect and that it will puzzle even a person possessing
more than an elementary knowledge of the principles of Card Magic.

b. There is only one move in the above routine which, by any stretch
of imagination, could possibly be called difficult. I refer, of course,
to the palming of the extra blue card. (Paragraph 6.)

Should the reader feel that he lacks the requisite skill, he might
adopt the following plan, which may appeal also to advanced workers.

Let the pencil lie on the table beside the packet of envelopes and
instead of adding five white cards, add four only. Then force the
number five as previously described.

The next step will be to pass four white cards into the envelope,
inquiring of the helpers, on each occasion, if they feel them arrive,
Upon being informed that they do not, remark :—“ Perhaps it is on

102 FARELLI’S CARD MAGIC

account of the cards. I shall pass one of the blue cards also. I hope
that you will feel it ! ”

When the cards are counted there will be, of course, thirty-five,
namely, the original thirty blue cards, plus four white cards and one
extra blue card.

This is merely a suggestion : I have never tested the idea in public.
c. Forcing the Number.—See paragraph 8 ante. Should six be the number

chosen, pretend to pass that number of cards into the envelope. Then
stand behind the table and while the helper counts the cards, quietly
palm one white card in the right hand. When the assistant says :—
" . . . thirty-five,” immediately produce the palmed card from
the inside of his coat, remarking :—“ and one makes thirty-six ! ”
This always causes a big laugh and I am just as pleased when six is the
number selected.

In the event of four being chosen, proceed as follows. Pretend to
pass four white cards, one by one, into the envelope, inquiring, each
time, of the helpers :—“ Did you feel it arrive ? ” Obviously the
replies will be in the negative. Then say :—“ Oh, you are losing all
the fun ! It is a very peculiar sensation ! I must pass another card.”
This brings the number of cards apparently passed into the envelope
up to five.

I have performed this effect hundreds of times and only once was
the number three selected. On that occasion I passed three cards
for the assistant seated on the right and another three for the one on
my left. I have never known anyone to select the number two.
Four is chosen fairly frequently . . . about once in ten or twelve

shows.

d. Mr. Edward Bagshawe suggests that after palming off the extra blue
card (paragraph 6), the whole packet be placed face up. This is
certainly safer, for, in the event of the helper being at all clumsy in
picking up the packet, he might notice that some of the cards appear
to have very wide margins ! Many years ago it was possible to purchase
cards of this description, namely, with very large white borders, but I
have not seen any on sale recently and I do not think that they are
now manufactured. If it were possible to obtain such cards I would
advise their adoption. As a matter of fact I would use them myself
as it would make the trick doubly safe.

e. The table should be a small one, about twelve or sixteen inches square
and about waist high. I carry a special table for this experiment and
so accustomed have I become to working with it that I do not think
that I would now have the nerve to attempt the trick with any other,
on the stage at any rate !

THE " SIMPLEX ” THIRTY CARDS

Some years ago I worked out a non-sleight of hand method for obtaining the
same result as that described in the previous section. Since then Edward Bag­
shawe has added an ingenious subtlety and has improved upon the general
working of the effect.

REQUIREMENTS

a. A pack of blue backed cards.

b. A pack of white backed cards.

c. An extra white card with a blank face, that is to say, white on both
sides.

d. A packet of envelopes with a paper band round them. These envelopes
must be of exactly the same width as the length of the cards. As
regards length they are twice the width of the cards plus the width of
the band used to secure the packet. Fig. 77.

e. A pencil.

FARELLI'S CARD MAGIC 103

PREPARATION

The packet of envelopes being flap sides up, secure the top one to the inside of
the band with a small dab of seccotine.

Turn the packet of envelopes address sides up and place five white backed cards
thereon in the following order :—

i. The Ace of Clubs, face down.

ii. Three indifferent cards, faces down.

iii. The special white card.

The lines “ A. B. C. D.” in Fig. 77 indicate the position of the five cards, which
must be inserted, to the extent of about an eighth of an inch, under the band,
as shown by the dotted line “ B. D.”

The edges of the cards and of the envelopes should be perfectly flush. Con­
sequently there should be no clearance as shown in the sketch. This apparent
error was made purposely in order to make the position of the cards quite clear.

It should be mentioned that the correct tension of the band can only be
ascertained by experimenting with different numbers of envelopes.

The packet thus prepared, provided that the edges of the white cards are per­
fectly clean, may be freely displayed on all sides without anything unusual being
observed. Before the entertainment starts, place it, flap side upwards, slightly
protruding over the edge of a table, or of a tray, so that it can be easily picked up.

The blue Ace of Clubs is placed on top of the blue pack. It is advisable that
this card be a “ short ” so that it may readily be brought to the required position
after performing other experiments with the pack.

WORKING

a. Hand the blue pack to an assistant, seated on your left, at the same
time taking the packet of envelopes in the right hand, the “ Stock ” of
five cards being underneath and supported by the fingers of the same
hand.

b. Instruct the helper to count thirty cards, faces downwards, on to the
palm of your outstretched left hand. When this is done, reverse the
cards just counted, bringing the Ace of Clubs into view. As you make
this move, ask the assistant to give you the remainder of the pack.
In order to take these cards it is quite natural for you to place the
packet of envelopes, for a moment, on top of the thirty cards. Put
the cards that he hands you into your pocket or place them on a table
if one is handy.

c. Calling attention to the packet of envelopes, grip the top one by the
extreme edge (a in Fig. 77) and pull it a little way out from the
rest. As the band is attached to it it will move also, thereby freeing
the “ stock ” of five cards. With the right hand pass the packet to

104 FARELLI'S CARD MAGIC

the assistant, instructing hint to choose one of the envelopes. The
appearance of the cards in the left hand will not be altered in anyway
as an Ace of Clubs is still in view. (This excellent move is due to the
ingenuity of Mr. Bagshawe.)

d. Before getting the thirty-five cards placed in the envelope, casually
cut the packet, or allow the assistant to do so, thereby bringing the
white cards to the centre.

e. Instruct the helper to write the number “ 30 ” in large figures on the
Notes.— envelope, then force the number five and bring the effect to a con­
clusion after the manner explained in the preceding section of this
i. chapter. Obviously when the thirty-five cards are counted they
must be dealt face downwards so that the double backed-white card
will not be seen. Even should it be discovered, no harm would be
done as many manufacturers include a blank card in every pack sold.

After the five cards have been passed into the envelope, there will be
two Aces of Clubs in the packet, but this does not matter as they belong
to different packs.

ii. The idea of securing the top envelope to the band is Mr. Bagshawe’s
and it certainly makes for greater smoothness in the working,

iii. As far as I can see, the routine above outlined is practical in every details
but I have never tested it in public as I prefer to rely entirely on sleight
of hand.

THE FLOATING IMAGE

EFFECT

The performer distributes a number of picture post-cards bearing a sketch
similar to the one reproduced in Fig. 78, on which are printed the following
instructions :—

Stare (without winking) at the four dots on the bridge of the nose and
count slowly up to forty. Now raise the eyes and stare at a point in a
plain surface, for instance, the sky, either during the day or flight.

In the event of your trying the experiment in a room, stand with your
back to the light all the time and look at a given point on the ceiling.

After a few seconds you will see the image of
Mr. So-and-So

floating in the air.

Fig. 78.

FARELLI'S CARD MAGIC 105

The drawing referred to was made from a photograph of the author, but obviously
any sketch of similar type would serve equally well. It should be mentioned that
the illustration is published by special permission of the “ Bureau Burtec,” 6
Rue Potagere, Brussels, Belgium, who are the owners of the patent ights.

Several members of the audience, having seen the “ image in the air,” the
conjurer explains that the “ phenomenon ” is due to a peculiar effect of optics
and claims to be able to turn the principle to account for magical purposes. As a
proof of this, several spectators are requested to select a card each, taking the
greatest care that the performer does not see what they are.

The conjurer then turns his back and one of the helpers is instructed to look at
the face of his card and to follow the directions given on the post-cards. Having
done this he must then stare at a fixed point on the ceiling.

The artist then introduces a special lens—similar to that used by jewellers—
with which he examines the ceiling and, after some hesitation, he announces
the name of the card chosen. This is repeated with the remainder of the cards
selected.

METHOD

This may well be left to the taste of each individual performer. The vas
majority will probably prefer to force a series of previously memorized cards, while
others may elect to use a pack arranged in sequence.

A very convincing effect could be obtained by means of “ readers.” In this
way the pack could be shuffled by the spectators and, the cards having been spread
face downwards on the table, various members of the audience could freely select
a card each.

Slightly Different Presentation

A more logical “ mise-en-scene ” might be the following. Let the magician
explain that the effect in which the photograph is seen floating in the air is merely
an optical illusion due to a momentary impression of the image on the retina of
the eye. (This, by the way, is true.) Let him claim that in order to ascertain
the chosen cards all he has to do is to examine the eyes of the “ patients ” with his
lens.

An Additional Effect

An additional effect could be obtained with a faked spy-glass like those put on
the market some years ago by the him of Ornum & Co. I cannot remember the
exact details of construction, but the instruments were faked in such a way that
a tiny card could be made to appear at the required moment. In this way, for
the final card, a member of the audience could perform the “ experiment.” It
sould be unnecessary to point out that the card whose “ miniature ” . pears in
the telescope must be forced.

History and “ Invention ”

The plot or mise-en-scene owes its inception to Dr. Herschell’s “ Permanence
of Retinal Impressions” mentioned in Our Magic (Nevil Maskelyne and David
Devant).

L’ENVOI

Bornons ici cette carriere,
Les longs ouvrages me font peur.

Loin d'epuiser une matiere,
On n’en doit prendre que la fleur.
(Jean de la Fontaine.)

“CONTROLLED INCIDENCE; THE REVERSAL; CHOICE
FORETOLD; THE MARVELLOUS DIS­
COINCIDENCE” COVERY; Suggestions and Tips. How to
use the special method employed for other
(Victor Farelli) effects. A typical Farelli lesson in magic.”
Price (without cards) 3/-, post 2d. U.S.A.,
TWO cards are chosen from a pack by $1.00 post paid.
two spectators, each removing his card
from a different part of the pack. These “THE ODIN RINGS”
cards (which are not forced) are retained
by the choosers. THIS book is a translation of a recent
French work describing for the first time in
An ordinary penknife is handed to one print M. Claudius Odin's method of per­
of the helpers, who slips it into the re­ forming the Chinese Rings; a most ingeni­
mainder of the pack at any position he ous routine for which he is justly famous
fancies. Without any sleight occurring, the in France. The translator has added three
magician genuinely separates the pack at appendices containing the latest novel
this place. For the first time, the spectator notions in EXPERT RING MANIPULA­
is asked to show the face of his card— TION.
which is, say, the Ten of Hearts. At the
request of the magician, he now examines Profusely illustrated throughout, and
the cards where the pack has been specially indexed for easy reference. Bound
" broken " by the knife insertion—and finds in board covers with two-colour wrapper.
the bottom card of the top packet is a The low price of the volume brings it
TEN, whilst the top card of the bottom within every worker’s reach.
packet is a HEART! Truly a surprising
coincidence! NOW READ THIS!
That great authority, JOHN
BUT NOW—the second spectator also NORTHERN HILLIARD, Author of
took a card—what of this? Gently running Downs' "ART of MAGIC,” and
out the cards, backs up across the table, Manager to HOWARD THURSTON,
the magician shows one card to be re­ writes in a letter to Mr. Farelli: —
versed. The name of the second card is
now asked for and proves, for example, the " I once told ' Namreh' that his
Jack of Clubs. The chooser is asked to treatise on the ' Lincoln Rings ’ was
come up and remove the reversed card, the grammar of that ancient miracle.
together with the one immediately above it. If that is in any way a sound tribute,
He finds that one of these cards is a then your Odin Rings ’ is the poetry
JACK and the other a CLUB. Again desig­ of the Art.”
nating the actual card he has chosen !
I READ THE BOOK WITH
Note that YOU DO NOT FORCE ENTHUSIASM. IT SURPASSED
ANYTHING AT ANY TIME—THAT MY MOST SANGUINE EXPECTA­
THE ENTIRE “ DOUBLE EFFECT ” MAY TIONS. A GLORIOUS BOOK on
BE DONE WITHOUT DIFFICULT one of the greatest of all Magical
MOVES OR SLEIGHTS— NOTHING TO classics. There is no one writing in
COUNT OR MEMORISE—ANY MAKE Magic to-day I admire more.”
OF CARDS USED—NO PREPARED
CARDS ARE REQUIRED. A PERFECT (s.) J. N. HILLIARD.
CARD MYSTERY, which may be worked
anywhere. Contents include: THE EFFECT; THE
ODIN COUNT; LINKING THE RINGS;
This unusual effect—one of the best UNLINKING; TIPS AND IDEAS; A
" close-range ” items we have seen—is the CHUNG LING SOO METHOD, in which
invention of Victor Farelli, who has per­ Soo threw out each ring separately; and
formed it before many magicians, who were FINAL NOTES. Price 6/6, post 3d.
unable to fathom the secret. U.S.A., S2.00.

The effect, based upon an entirely novel FROM YOUR
conception in card magic, is but ONE OF
FOUR on this principle. We have no space USUAL DEALER
to describe the remaining effects, but the
one above-mentioned is itself worth the
price. All are concisely described in an
exclusive illustrated booklet of 5,000 word-
length, as follows: —A STRANGE CO-

BOBBY & CO., LTD
Printers, Margate

Part One

“Farelli’s Cofard Magic”

contains a large number of varied
effects, moves and subtleties of use
to all card magicians. ORDER
THIS PART NOW from the
dealer who supplied this booklet.

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