Farelli's Card Magic

FARELLI’S CARD MAGIC 51

commencing by drawing off the top and bottom cards, namely, the Queen and
King of Clubs. Fig. 41.

To the best of my knowledge no method of “ setting ” has ever been described
in print in English or in any other language. Owing to what practically amounted
to a challenge issued to me by a “ Knight of the Green Table,” who was also by
way of being a bit of a conjurer, and whom I happened to meet in the company
of a magician friend, I came to discover this process myself.

This individual maintained that I would be unable to find out—books or no
books—the order in which to arrange the cards as a preliminary to the “ milking ”
shuffle. By his emphatic and confident manner I was led to believe that a sound
knowledge of the mysteries of permutations and more than a nodding acquaintance
with those beautiful methods of calculating, known under the terrifying names of
the Integral and Differential Calculus, were required to solve the problem !

Being, at the time, rather naive, it never occurred to me to doubt that the problem
was a hard one, but some time later I decided to tackle the task and, after a little
experiment, I was lucky enough to hit upon the above simple solution.

I may mention here for the benefit of any readers who may happen to be inter­
ested in “ Spellers ” based on pre-arrangement, that all such effects may be worked
by this “ reverse ” system. All one has to do is to work backwards.

Final Notes.—

a. The “ Milking ” Shuffle should not be used alone, but in conjunction
with a series of blind cuts as described by Erdnase and should be followed
by a convincing false shuffle, for instance, the “ Lace-through ”
already mentioned.

b. As a matter of fact, in order to “ set ” the pack it is not necessary
to proceed exactly as explained. I described the routine in the above
way to avoid any possible misunderstanding. In actual practice, I
hold the two top cards (i.e., the Ace and Two of Hearts) face down­
wards in the left hand, and the balance of the pack, also face downwards,
in the right. With the fingers and thumb of the right hand I slide
the cards from the top and bottom of the pack, alternately above and
below the pair held in the left hand.
The fifty-two can be “ run ” with perfect accuracy in less than half
a minute, but the “ milking ” process takes a few seconds longer.

c. It is by no means essential to “ milk ” the pack down until only one
pair of cards remain in the left hand. It is sufficient to draw off about,
say, twenty pairs, leaving twelve cards in the left hand. Obviously,
the pack must be “ set ” to allow for this and the operator must be
careful to “ milk off ” the correct number of pairs.

A SUBSTITUTE FOR FALSE SHUFFLING

As I pointed out in one of my little books, nothing looks worse than
an indifferently executed false shuffle. By performing it one advertises the fact
that the pack is arranged in a given sequence or that there is a “ stock ” of cards
either at the top or bottom.

The following method of genuinely cutting a pack will be found useful by
amateurs—and by professional performers also for a matter of that—who may
not care to devote the necessary time to mastering a convincing false shuffle.

WORKING

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

b. With the right hand under-cut about half the pack and drop it on to
the portion in the left hand. This is, of course, a genuine cut.

c. With the fingers of the right hand “ pat ” the cards in the left hand to
make them level.

d. Continue the evening-up process with the right thumb at the near
end of the pack (i.e., the end towards your body) and the middle finger
of the same hand at the opposite end.

52 FARELLI'S CARD MAGIC

e. To finish off, raise the pack with the thumb and middle finger of the
right hand and knock or “ stamp ” it on the open palm of the left.

f. Repeat the above series of movements (a, b, c, d) once or twice or at

the very most three times.

The main thing is not to “ over play the part ” and the cutting must be done in

a casual way while pattering, otherwise it will at once become apparent that the
conjurer is pretending to shuffle the cards while in reality he is only cutting

them !

I must stress a rather important point. In paragraph è, I write :—“ . ..

drop it on to the other portion in the left hand.” Care must be taken not to raise

the right hand half too high above the left or it will be obvious that a “ cut ” has
been made. The right hand packet should be raised just sufficiently high to clear

the other and no more.

It will be unnecessary to warn the intelligent reader not to mention the word

“ shuffling ” when cutting the cards as above described ! “ Never tell lies ” is a

good motto for a magician while on the stage . . . and off. . ..

CHAPTER VI

PALMING

AS it is assumed that the reader has a general knowledge of Card Magic,
no instructions—in the strict sense of the word—are given for palming, but
a few “ pointers ” may be of value.

THE CARDS TO USE

The most popular cards for conjuring purposes are those known as “ Steam­
boats ” and which are manufactured in Cincinnati, U.S.A. Personally I prefer
cards of “ Bridge ” size, which, as the reader is no doubt aware, are slightly shorter
and narrower than those of standard make. Being smaller they are easier to palm—
a great boon to the performer who is not blessed with hands of average size.

For many years I used cards of the usual pattern (“ Steamboats ” or “ Bicycles ”)
which, having a fairly large hand, I could palm with the greatest of ease. However,
on one occasion it was pointed out to me by the late Fredrico Giordano, an Italian
magician, that by adopting cards of somewhat smaller dimensions the hand con­
taining the “ palm ” would assume a much more natural aspect. I at once saw
the truth of this remark and for the last fifteen years or so I have followed Mr.
Giordano’s advice. The cards in question are now very largely used amongst
card-players and consequently no suspicion is aroused : I cannot call to mind
a single instance in which the slight difference has been commented upon by a
spectator.

If the reader will stand in front of a mirror, with a card of standard size palmed
in one hand and with a smaller card in the other, he will at once notice (unless,
indeed, he have abnormally large hands) that while the hand holding the larger

FARELLI'S CARD MAGIC 53

card has a more or less unnatural shape, the opposite hand entirely lacks the some­
what strained or stretched appearance of the other. Fig. 42 should make this
clear.

It may possibly be considered that a fraction of an inch difference in the size
of the cards and the relatively slight variation in the shape of the hand are matters
of very little consequence, but one should bear in mind that it is just such minor
details that distinguish a finished from a slovenly performance.

It is, of course, as well to accustom oneself to the use of cards of the standard
type, as there are occasions when one is called upon to perform with a borrowed
pack.

COMMON FAULTS

Curling the Forefinger

Many magicians when about to palm one or more cards from the top of the pack
hold the first finger of the right hand curled up as indicated in Fig. 43. Obviously,
in order to execute the palm, this finger must be straightened and such movement
can hardly pass unnoticed by an observant spectator, unless, indeed, very strong
misdirection be employed at the psychological moment.

Stiffness of the Arm

This is probably the most common of all faults and is no doubt due to

nervousness.

The performer naturally not wishing the hand containing the “ palm ” (whether

it be a card or other object) to be too closely observed by the spectators, keeps it

perfectly still while with the other hand he gesticulates more or less violently.

Of course, one must not go to the opposite extreme and wave frantically with

the hand concealing the palmed article. What should be aimed at is to appear

perfectly natural and at ease . . . the hardest task which can be set to a

beginner.

Spreading the Thumb

Mr. Valentine Beestonn, a pupil of the late Charles Bertram, and to whose
articles on card sleights I have already had occasion to refer, calls attention to this
matter :—

“ I have, at different times, noticed that some amateurs—and some

professionals, too—have developed a common error in palming cards, which

greatly detracts from the efficient execution of this particular sleight, and

in which attention is attracted to this all-important movement . ..

“ As the card or cards are brought to the top of the pack and pushed off
by the left thumb into the right palm, you will note by studying the diagram

(Fig. 44) that the thumb of the right hand is shown jutting out, which in
some measure seems natural to do, but is distinctly wrong, and serves

only to retard the rapidity of the palm. It leaves the hand when parting
from the pack in an unnatural position, which clearly indicates therein a

54 FARELLI'S CARD MAGIC

presence one concludes should not be there, and so destroys the beauty of a
casual and momentary cover necessary to secure the card.”

“ The correct and only method is shown in Fig. 45, where the thumb
remains behind the pack, pointing always at a downward angle. As the
hand leaves the cards, the thumb slides along the hindmost edge, and the
pack is immediately taken in the right hand. Fig. 46. (From The Magical
Monthly, June, 1926.)

Personally I am of opinion that it is better to hold the right hand as shown in

Fig. 47, the tip of the right thumb being about an inch away from the middle

joint of the forefinger, then, without using the thumb of the left hand to push

the cards into the right palm, to move the right hand an inch or so to the right,

at once seizing the pack by means of . ..

THE LONGITUDINAL GRIP

For general purposes I consider this the best of all methods of holding the pack
with a hand containing one on more palmed cards.

I first saw it used by Mr. Leipzig and I myself have employed it constantly
for over twenty years. The position of the hand is perfectly natural and there is
no appearance of strain.

It possesses the additional advantage that it can be employed with the audience
practically all round the performer, provided that the arm be held straight down
and consequently below the level of the spectators’ eyes.

The pack is gripped by the hand holding the palmed cards between the thumb
and fingers, the latter at the far end of the pack. This is clearly shown in Fig. 48.

The sleight—if the term may be applied—is easy of accomplishment and it is
safe to say that any reader who may decide to adopt it, will, like the gentleman
in the advertisement, “ use no other.”

FARELLI’S CARD MAGIC 55

THE DEVANT "MARK-OFF”

This is so absurdly simple that I fear the more inexperienced reader will not
fully appreciate its beauty or realize its practical value.

It is described by Mr. Devant in Lessons in Conjuring, but it was communicated
to me by him long before that excellent work saw the light, and, a few years ago,
the Master himself rehearsed me in the move.

When it is desired to palm a given number of cards from the top of the pack
there are two standard methods for counting them between which the conjurer
may choose. He can “ thumb-count ” the required number from the bottom of
the pack and then make the pass to bring them to the top in readiness for palming.

The alternative method, more crude, easier of execution and consequently
more generally employed, is to count off the desired number with the thumb and
fingers of the left hand, the pack being partially fanned towards the right for this
purpose and the right hand gripping it in the manner usually adopted when about
to make the pass.

I do not care for this system at all and I often wonder, as I watch it performed,
how many members of the audience remain unaware that some secret, or sup­
posedly secret, manœuvre is taking place. A very small percentage I should
imagine.

(There is, of course, a very good way of overcoming this defect which is usually
employed in the Cards Passing up the Sleeve. It consists in telling a spectator to
think of one of the cards as they are moved from left to right in front of his eyes.)

Mr. Devant’s mode of procedure is, as already stated, simplicity itself. Under
some plausible pretext, he slowly and deliberately deals the required number of
cards on to a convenient table, then gathers them up, replaces them on top of the
pack and keeps a break between the “ stock ” thus formed and the remainder of
the cards.

Obviously there are times when this bold and somewhat “ cheeky ” manoeuvre
cannot be employed. In such cases the magician must exercise his ingenuity
in other directions.

Mr. B. O’Connor uses a similar stratagem, but I must not describe it as the secret
is not mine to divulge.

CHAPTER VII

SECOND DEALING

ERDNASE tells us that to become an adept at second dealing is as difficult
a task as can be given in card handling and certainly no competent person
will venture to question the truth of that statement. I am an elderly man
now and what hair I have is fast turning white with the frost of many winters,
but all the magicians I have known who could “ second deal ” I can count on the
fingers of one hand. This is my excuse for giving a full and complete description
of this sleight in a book that deals mainly with the lesser known artifices in Card
Magic.

Hard as the sleight may be, it can be acquired by anyone possessing the required
amount of patience. The main thing is to know how to start to learn it.

In my opinion the great difficulty is not in seizing the second card in lieu of the
top one, but in being able to push the two top cards evenly over the side of the
pack with the left hand.

I suggest that the reader master the following preliminary exercises before
attempting to perform the sleight itself. It will save him time in the long run.

FIRST METHOD OF SECOND DEALING

First Exercise : Moving a Pair

a. Hold the pack in the left hand as illustrated in Fig. 49, the thumb being
at the top left corner, the first finger at the upper end, the little finger

56 FARELLI’S CARD MAGIC

at the lower end and the two remaining fingers on a level with the top
card at the right side of the pack.
b. With the left thumb push the two top cards together towards the right.
One will overlap the other a trifle, but that is matter of no consequence.
Fig. 50.
c. The tips of the second and third fingers prevent more than two cards
from moving.
d. The little finger helps to keep the two cards square. (See Note No. 1.)
e. With the middle finger and thumb of the right hand, seize both cards
at the right hand top corner and draw them over the side of the pack—
not over the end. Place them on the table.
f. Continue to take the cards, two by two, until the pack is exhausted.

Notes.— Some performers may find it more convenient to curl the little finger
1. under the pack or else to place it beside the second and third fingers.
It all depends on the cards used and on the size and formation of the
2. hand.

3. By practising an hour a day, for about a week or two, a fair degree
4. of speed should be attained. Speed is essential : another pair of cards
5. must be in readiness [i.e., protruding evenly over the side of the pack)
a fraction of a second after the first pair has been gripped by the fingers
6. of the right hand. There must be no fumbling.

I say that rapidity is necessary in this exercise, but the actual second
dealing, when the complete sleight has been mastered, can be done at a
fairly slow speed.

During the first few days work very slowly. Pay attention to the
movement and do not worry about speed. That will come.

The position of the left thumb is most important. If instead of
placing it at the left hand top corner (as illustrated in Fig. 49) it be
placed near the centre of the top card, the “ over-lap ” would be very
apparent.

The pack must be new and of good quality. Cards which have become
soft and “ sticky ” are useless. Experiment with several makes until
you find cards that suit you. I may add that the real secret of second
dealing is to use cards that have no white borders.

Second Exercise : The Withdrawal

When a fair degree of proficiency has been acquired in the above series of move­
ments, proceed with the following exercise, the object of which is to strengthen
the muscles of the left thumb.

a. Holding the pack as already explained, push a pair of cards to the
right. Fig. 50.

b. With the left thumb draw back the top card only, square with the

rest of the pack. Fig. 51.
c. Again advance the top card with the thumb. Fig. 50.

FARELLI'S CARD MAGIC 57

d. With the middle finger and thumb of the right hand seize both cards,
draw them over the side of the pack and place them on the table.

e. Continue until the pack is exhausted.
f. Caution. Do not practise this exercise for more than half an hour or

so at a time in order not to over-strain the muscles of the thumb.
I consider it pure waste of time to proceed with the next stages of the sleight
until these exercises have been thoroughly mastered. By doing so the student
would only become discouraged upon finding—as he certainly would—that he
makes no apparent progress.

Third Exercise : Seizing the Second Card

a. With the left thumb push two cards evenly over the side of the pack.
Fig. 50.

b. With the second finger and thumb of the right hand take hold of the
two cards at the top right hand corner. The pressure exercised by
the right thumb must be almost negligible. The second finger, which
passes well under the second card, presses fairly strongly in an upward
direction. Fig. 52.

c. With the second finger of the right hand draw out the second card over
the side of the pack, not over the end.

d. At the same time draw back the top card with the left thumb. As the
left thumb moves, the whole pack is caused to travel a few inches to
the left, while the right hand places the card it holds face downwards
on the table.

e. There is a tendency to raise the left thumb as the second card is drawn
out. Be careful to avoid this.

f. The pack must not be held parallel to the surface of the table. It
should be inclined slightly to the right. This is very important.

g. As the right hand moves towards the table, the left thumb pushes a
second pair of cards (i.e., the top card and the one now below it) evenly
over the side of the pack.

Figs. 50 and 51 depict the correct position, while Fig. 53 shows the second card
being dealt over the end of the pack instead of over the side, this is quite wrong.

58 FARELLI'S CARD MAGIC

Fourth Exercise : The " Swing"

For the sake of clearness I shall describe the “ swing ” under a separate heading,
but, strictly speaking, it forms an integral part of the previous “ stage,” the move­
ment taking place as each card is dealt.

The reader is referred to the accompanying diagram (Fig. 54) in which “ P ”
is the position of the pack when both hands are together.

“ P—L ” indicates, roughly, the distance the left hand has to travel.
“ P—R ” gives an idea of the “ trajectory ” (to misapply the term) of the

right hand.
I must not neglect to add that as the cards are dealt both hands make a slight
up and down movement which is hard to describe, but easy in practice. As the
hands approach each other and meet (“ P,” Fig. 54) they rise a trifle : when they
separate they drop. I repeat that this up and down movement is very slight,
but it is one of the principal moves in the “ swing.”
Notes.—

1. It is unwise to lay down hard and fast rules for second dealing, so much
depends on personal peculiarities. It is suggested that the reader
practise until he finds a series of movements which appear to suit him.
However, while experimenting, he would do well to bear in mind that
it is next to impossible to second deal in a thoroughly illusive manner
(a) if the cards are drawn over the end of the pack ; (b) when using
white edged cards ; (c) without a smooth “ swing ” ; (d) if the “ over­
lap ” is too pronounced.

2. After the first two exercises have been acquired, it should take about
a fortnight—working one hour a day—to attain proficiency in this
sleight, which will prove most useful to the ambitions card magician,
but which requires fairly constant practice. It may easily be forgotten.

3. It may be of interest to the reader to know that these somewhat elaborate
instructions have been compiled from notes which I made when learning
the sleight.

4. When proficiency has been attained in the second deal, the next step
is to practise ordinary dealing and to make the genuine deal indis­
tinguishable, in every particular, from the false. Obviously, little
useful purpose is served by executing the sleight, even in the most
perfect manner, if the “ whole show ” be given away by omitting the
“ swing ” and other important details when making a genuine deal.

5. A final tip. During the first few days of practising each of the different
exercises, work very slowly.

SECOND METHOD OF SECOND DEALING

This is much easier than the system just described, but not nearly so useful,
as the cards must be turned face upwards as they are placed on the table.

FARELLI’S CARD MAGIC 59

WORKING

a. Push the two top cards evenly over the side of the pack with the left
thumb as explained in the first method. Fig. 50.

b. Grip these two cards by the top right hand corner with the thumb and
first and second fingers of the right hand. The thumb is on top,
the first and second fingers underneath.

c. With the right thumb push the top card to the left, bringing it square
with the rest of the pack.

d. Draw the second card over the far end of the pack (Fig. 55). At the
e.
same moment . ..
Notes.—
1. Move the pack to the left and slightly towards your body, turning
2. the card held by the right hand and placing it face upwards on the
table. The turning of the card conceals the manoeuvre.

A suitable “ swing ” is, of course, necessary and cards with white
borders had better not be used.

There are other methods and variations of second dealing, but I
think that the two above described will be found sufficient for conjuring
purposes.

Part Two

of

“Farelli’s Card 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.

NOTE: Parts I and II are arranged
so that if desired both may be bound

together into one volume.



PART TWO

FARELLI’S CARD MAGIC
MISCELLAANNCHDEAPOT“ETRUVISIPII SS”LEIGHTS

ITTLE or no attempt has been made to classify the following items, among
which will be found some of the most subtle ideas that I know in Card

ALLINK WITH THE PASTMagic.
(The J. H. ANDERSON Slip)
This move was shown to me over a quarter of a century ago by a Scotch conjurer,

Carl Hengler, of Glasgow, who informed me that a pupil of John Henry Anderson
the famous Wizard of the North, had taught it to him in his (Hengler’s) youth.

This sleight—which is used to slip a card from the centre of the pack to the
bottom—is easy to explain, but extremely difficult of accomplishment in an indetec­
table manner.

Hold the pack in the left hand as if about to make the double handed pass,
inserting the third and middle fingers of the same hand above the lower half.
Press downwards with those fingers and draw the top card of the lower half to
the bottom. No noise should be made and the first finger should not shoot out
as shown in Fig. 13.

Hengler’s method of presentation was the following. A card having been
returned to the centre of the pack, he would inquire :—“ What part of the pack
would you like your card to appear ? The top, the bottom or the centre ? ” If
the top were chosen, a double handed pass was immediately made. To bring the
required card to the bottom, the Anderson slip was used.

The same sleight may be employed to draw a card from the centre to the bottom,
reversing it in the process. This variation is vastly easier of execution and it is
mentioned by Mr. W. G. Craigen in the June, 1929, issue of The Magic Wand.

In this connection I may mention an improvement recently shown to me by
Mr. Mulholland.

Hold the pack in the usual position for the pass, but insert all four fingers between
the upper and lower halves. These fingers press on the top card of the lower
portion in readiness to perform the “reverse slip.” Keeping a firm grip with the
right hand, move the entire pack towards the right and slide it on to the out­
stretched fingers of the left hand. Fig. 56.

Under cover of this movement, the selected card is slipped to the bottom and
reversed. Needless to add, silence is essential.

64 FARELLI'S CARD MAGIC

A CLEAN SLIP

This addition to the standard slip was first shown to me about twenty years
ago by Mr. Nate Leipzig, but it has since been described in print, therefore, without
making any breach of confidence, I may mention it in these pages.

I think it was originated by Mr. Leipzig ; at any rate it is worthy of the ingenuity
of that Master Magician.

WORKING

a. A previously selected card having been brought to the top 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 finger of the right hand riffle the cards, requesting a
spectator to call “ Stop ” whenever he wishes.

c. Hold a break at the desired point with the first and middle fingers
of the right hand. (See Fig. 70 post. Note the position of the left
thumb.)

d. Press firmly on the top card (i.e., the chosen one) with the middle,
third and little fingers of the left hand.

e. Turn the complete pack to the right, bringing the back of the left
hand towards the ceiling and the back of the right hand towards the
floor. As this movement is made, separate the hands, as shown in
Fig. 57, and slip the selected card from the top of one packet to the
top of the other.

f. With the forefinger of the left hand, point to the bottom card of the
right hand packet (the Three of Hearts, Fig. 57), remarking :—“ Of
course I do not mean this card, but the one next it.”

g. As you say the words, “ . . . but the one next it ” turn both packets
(with the same swing) towards your left, bringing the top cards of
both halves towards the ceiling and point to the top card of the left
hand portion (i.e., the card previously selected) with the first and
middle fingers of the right hand. (Fig. 58.) Allow the spectator to
remove this card himself.

Many uses will be found for this sleight and I give the above elaborate
instructions in order to make Mr. Leipzig’s working perfectly clear.

The “ Pencil Force ” (Chapter IV) bears a close resemblance to this move,
except that in the case under consideration both packets are turned over towards

A LITTLE-KNOWN " GLIMPSE ”the right, and hence cards with white borders may safely be used.

In general working this sleight appears to be identical to the one mentioned in the
preceding paragraphs, but as will presently be seen, there is really no similarity
between them. For that reason it proves puzzling to a magician who may happen
to know Mr. Leipzig’s move.

WORKING

I. Hold the pack face downwards in the left hand and with the forefinger
of the right riffle the cards, requesting the helper to stop you whenever

FARELLI'S CARD MAGIC 65

he may wish. Hold a break at this point with the first and middle
fingers of the right hand. Fig. 70 post.

II. Turn the complete pack to the right, bringing the back of the left hand
towards the ceiling and the back of the right hand towards the floor.
With the forefinger of the left hand point to the face card of the right
hand packet. Fig. 5”.

III. Now comes the important move. Lower the third finger of the left
hand to the extreme edge of the left hand packet ; then push the card
which it touches, about a third of an inch, in an upward direction,
enabling you to “ glimpse ” the index near the ball of the left thumb.

IV. With the third finger draw this card down square with the rest, and,
at the same instant, turn both packets towards the left, exactly as in
Fig. 58. Point to the card just sighted with the first and middle
fingers of the right hand (Fig. 58) and instruct the assistant to remove
it.

I recently came across a short description of this sleight—by G. Brownlow—
in an old number of The Magic Wand (December, 1921), but I have never met a

THE VENERI " FLESH ” BREAKcard handler who claimed to be acquainted with it.
This was one of Veneri’s most exclusive methods, the secret of which he imparted
only to his most intimate friends. He maintained that it was superior in many
respects to the “ first finger break ” described in The Art of Magic (page 144).

In Veneri’s method the division is held by the fleshy part of the hand at the base
of the left thumb. A minute portion of the skin is clipped between the upper

and lower halves of the pack and the cards may be shown carelessly on all sides
save that towards the performer’s body. Fig. 59. The thumb and fingers are
quite free and no break is visible to the audience.

The reader is referred to Chapter III where one method of turning this stratagem

THE VENERI DISCOVERYto account is described.
Borrowing a pack of cards, Veneri would have one freely selected. He would
then hold the pack in the left hand, by the lower end, the bottom card facing the
spectators, the fingers on the face of this card, the thumb on the top card, that is
to say, towards his body. Fig. 60.

His next step was to take the chosen card by one corner and, without looking
at its face, to insert it in the pack after the manner shown in the illustration just
referred to, observing, “ Tell me if your card goes into the pack or not ! ”

As he said those words, he would slyly bend the corner of the card (with the
thumb and middle finger of the right hand) and pushing it in even with the others,
he would hand the pack to the assistant with the laconic remark, “ Shuffle.”

Taking back the pack, he would cut at the chosen card, thereby bringing it to
the top. As he displayed the card he would take the opportunity of straightening
the tell-tale corner before handing it (the card) to the selector.

66 FARELLI’S CARD MAGIC

This was one of Veneri’s pet “ close work ” effects. He once gave a demon­
stration to Mr. Nate Leipzig in Glasgow when the latter was appearing at one or
other of the then numerous variety theatres, probably the Pavilion or the Empire.
At the conclusion of the trick Mr. Leipzig said :—“ Would you please do that
again ? ” to which Veneri quickly replied :—“ No, I’m sorry. I’ve puzzled the
great Leipzig once and that is good enough for Veneri ! ”

The old man used to tell this story with much gusto and was very proud indeed
of his achievement. I often wonder if Mr. Leipzig remembers this incident,
which happened about twenty years ago.

Of course the “ crimp ” has been known to magicians from time immemorial,
but note the subtle misdirection employed :—•“ Tell me if your card goes into
the pack or not! ” This leads a conjurer to think that it will disappear. At the
conclusion of the effect, the pack and the selected card (from which the crimp had
been removed) were returned separately to the helper, the pack with the left hand,
the card with the right.

Note.—The pack should be held about the height of the chin and NOT as

A GENERALillustrated in Fig. 60. UTILITY “LOCATION”
This move is very little known to the fraternity, but it is one of the most generally
useful locations with which I am acquainted. It is by no means difficult, “ smooth­

WORKINGness ” rather than skill being required.
a. Hold the pack face downwards in the right hand as depicted in Fig. 61
the thumb being at the centre of one end, the first and middle fingers
underneath.

b. Still retaining a light grip of the pack, spread the cards in a very wide
fan with the fingers and thumb of the left hand ; the thumb above,
the fingers below. Fig. 62. When completed the fan should form
three quarters of a circle.

c. Get a card freely chosen and returned to the fan. As the card is
nearly “ home ” squeeze the pack between the thumb and first fingers
of the right hand.

d. Closing the Fan. Place the tip of the first finger of the left hand close
to the knuckle at the base of the right forefinger as shown in Fig. 63.

FARELLI’S CARD MAGIC 67

With a circular sweep of the left hand—towards your left-—close the
fan and seize the pack face downwards in the left hand. Fig. 64
shows the position of the right hand, just as it releases the pack and
after having closed the fan.
e. The pack will be reversed, end for end, and it will be found that the
chosen card protrudes, probably to the extent of about a quarter of
an inch, from the near end of the pack, namely, towards the left wrist.
f. Having raised the pack from the palm (Fig. 65), square up the cards.
The thumb is at the left side of the pack, the first finger at the far end,
the remaining fingers at the right side. This is illustrated in Fig. 65.
During the levelling up process, it is unnecessary, and perhaps even
inadvisable, that the right hand approach the pack.

68 FARELLI'S CARD MAGIC

g. Should the selected card jut out too far, it may be pushed in with
the little finger of the left hand, or, if preferred, with the thumb of
the right hand.

h. When the cards are neatly squared up, daintily remove the pack with
the right hand ; thumb on top, fingers underneath. Fig. 66 is a
view as seen from the magician’s left. For the sake of clearness, the
card is shown protruding about a quarter of an inch, but as a matter
of fact one sixteenth of an inch is ample.

Disposal of Card Located

The card thus located may be dealt with in a variety of ways :—
1. It may be brought to the top or bottom of the pack by a double handed
pass.
2. Slipped to the top by the “ side-steal,” or palmed in the right hand.
3. Slipped to the bottom by the Anderson slip.
4. Shuffled to the top or bottom by means of one or other of the
“ Substitutes ” described in Chapter III.
5. By means of the hand riffle shuffle it could be brought either to the
top or bottom of the pack. Figs. 1 and 2.
6. It may be “ glimpsed ” by inserting the little finger of the left hand
underneath it.
7. It could be crimped by the little finger of the left hand (or by the
right thumb) and the pack immediately handed to a spectator to shuffle.
8. Finally, under cover of squaring up the pack, the right thumbnail
could be drawn along the edge of the projecting card, thereby
roughening it a trifle. After the pack had been shuffled by the
audience, the operator could “ spot ” the ridge and bring the card
to the top or bottom by means of a riffle shuffle.

Suggestions

This method of reversing a pack, end for end, should prove useful in handling
“ biseaute ” cards and one way packs in general.

It might be possible to get two or three cards returned to different parts of the
fan (paragraph c) and having reversed and squared up the pack (paragraphs d
and f ) to “ strip ”—simultaneously—the projecting cards to the top after the
manner adopted when using tapered packs. Doubtless it would be found necessary
to grip the cards in question between the little finger and thumb of the right hand,
the pack being held at the extreme end (i.e., the end towards the audience) between
the thumb and middle finger of the left hand. It would probably be found easier
to strip them obliquely, towards the left. Fig. 39 will give an idea of what I wish
to convey. This is only a suggestion ; I have not given the matter much thought.

A "Sucker Gag"

Should the reader wish to amuse himself by “ catching a conjurer,” he might
try the following routine, in which the performer must use his own pack.

i. Card selected from fan.
ii. Pack closed and reversed. Figs. 63 and 64. The victim, being a

magician, will notice that the pack is turned round.
iii. Pack again spread and card returned.
iv. Fan closed, pack reversed and squared up in left hand.
v. Projecting card “ stripped ” to top.
Almost any card expert will “ fall ” for this and accuse his colleague of using
strippers. Fairly stiff cards are required : Steamboats are rather too flimsy

RETURNINGfor this purpose. A CARD TO THE " FAN ”

A book on little known card sleights would be incomplete without some mention
of this “ move,” which I cull from an article by Mr. Wilf. Huggins in The Magic
Wand No. 142, page 67 :—

FARELLI’S CARD MAGIC 69

“ My contention is that if the person who is returning the selected card is
allowed to slip it into any part of the fanned pack, there is a very noticeable
pause while the performer is locating the chosen card with his little finger,

preparatory to making the pass . . . Here is my method of having
a card returned to the pack.
“ As you approach the person who is returning the selected card, make
a break in the fan in easy reach of the little finger of the left hand, and
instead of having the card, returned to the pack, return the pack to the
card at the point where you have the break. In other words, remove the

card from the spectator's fingers with the pack. Do it boldly and deliberately
and immediately close the fan with the little finger easily inserted at the point
where the selected card was to all intents and purposes returned to the
pack."

THUMB-COUNTING

The correct position for Thumb-Counting is illustrated in Fig. 67, the pack
being held in both hands, the right thumb and forefinger of the right hand at the
near end, the middle, third and little fingers at the opposite end.

To count, squeeze the pack between the first finger and thumb of the right hand,
releasing the cards, one by one, from the thumb.

Many performers place the forefinger of the right hand beside the other fingers
at the far end of the pack. Fig. 68. The sleight is still possible of execution
but with a lesser degree of accuracy.

The best position that can be adopted to conceal the movement of counting is
probably that shown in the following illustration (Fig. 69) in which the narrow
edges of the cards are almost perpendicular to the floor and the pack at about the
height of the magician's chest.* A great many performers, however, hold the
cards straight down in front of the body. Fig. 68.

In order to “ thumb-count ” in safety strong misdirection must be employed,
such as asking a spectator some question, thereby drawing the attention of the
audience to him and away from the pack.

*By mistake, I held the pack too low while the photograph (Fig. 69) was being taken. As the
printers are waiting for this manuscript, I regret that it is now too late to get the error corrected—V.F.
G

70 FARELLI'S CARD MAGIC

CRIMP AND RIFFLE LOCATION
This is the last word in “ crimping ” and is, in my opinion, absolutely perfect
A card is freely selected from a borrowed pack, returned thereto, and the cards
immediately shuffled by the chooser. I do not see how the most fastidious
performer could expect more.

I. Take a borrowed pack—preferably one that is fairly new and of good
quality—face downwards in the left hand. With the forefinger of
the right hand riffle the cards, very slowly, requesting a spectator to
insert his finger and to draw out a card. Fig. 70.

2. Riffle the cards— again very slowly—and instruct the helper to push
his card into the pack. As he does so, turn the far end of the pack
about half an inch towards your left, so that the corner of the card—
and which he still holds—protrudes from the near right hand side of
the pack, that is to say close to the little finger of the left hand.

3. With the third finger of the left hand bend the corner of this card—
either upwards or downwards, as found most convenient—at the
same time squaring up the pack neatly with both hands. With the
right hand pass the pack to the assistant telling him to shuffle.

This is a vast improvement on all other methods which have come under my
notice as the same procedure is used for the selection and the return.

It takes considerable practice to perform it in a flawless manner, that is to say,
without the slightest trace of fumbling or any hesitation, but it is well worth the
time that must be spent on its acquirement.

THE GOLDIN VISIBLE “ CHANGE ”
This sleight, in Mr. Horace Goldin’s hands, produces a very startling effect.
Hold two cards as one in the manner indicated in Fig. 71, the front card facing
the audience, the first, middle and third fingers in front, the little finger being
behind the rear card. The thumb also is behind this card.

With the middle finger and thumb make the movement of “ snapping ” the
fingers, and the front card—the one facing the audience—will be carried into the
palm of the hand, as shown in Fig. 72.

FARELLI’S CARD MAGIC 71

The transformation having been accomplished the next problem is to get rid
of the card concealed in the palm of the right hand.

Probably the best way out of the difficulty is to pass the visible card into the
left hand, and, with the right hand, to remove the “ palmed ” card from the inside
of the coat on the left side.

I have been acquainted with this “ change ” for twenty odd years, but it was
not until recently when the originator gave me a personal demonstration and
drew my attention to the fact that the little finger must be placed behind the rear
card that I realised the sleight was workable. To the best of my knowledge it
has never been correctly explained before.

Caution.—In this sleight, as in others of similar nature, the “ angle ” is extremely
important. The performer must stand well back from the audience and take care
that there be nobody standing on either side.

THE HOUDINI " BLUFF ” CHANGE

At one of our meetings Houdini asked me if I made much use of the “ top
change ” and upon my replying in the affirmative, he handed me about half the
pack he was holding, telling me to let him see how I did it. When I had complied
with his request, he said :—“ Now watch. This is the way I do it.”

Displaying a card in the right hand, he made a sharp turn to the left and struck
it twice in rapid succession on the first and second fingers of the left hand which
were extended from under the pack. Fig. 73. He then showed that the face of
the card had changed and remarked :—“ That's quick enough ! ”

It was a perfect illusion and a beautiful piece of misdirection, similar to that
employed in the Houdini-Elliott pass, namely, the essential “ move ” had been
made before the onlooker expected anything to happen.

What actually took place was this. While I was “ demonstrating,” Houdini
quietly got possession of two cards—from the half of the pack he had retained—-
and held them together as one in readiness for a “ double card turn-over.” The
method of presentation was calculated to deceive a conjurer on account of the
suggestion that a top change was about to be made, and this was strengthened by
making the turn to the left.

The move is daring and to be successful with it, one would need to have, like
Houdini, the reputation of being extremely dexterous and rapid with cards. I
may add that he did all in his power to increase this reputation, and, while writing
up this effect, I remember that just before demonstrating his “ change,” he had
asked me if I could do the Appearing Knot on the Handkerchief, described, I
think, in More Magic. He then showed me that he also used the effect and I am
bound to admit that I never saw anyone do it so rapidly, although it was possible
for a trained eye to follow the movement.

I did not realise it at the time, but it is now quite clear to me that the handker­
chief trick was only introduced as a “ lead-up ” to the lightning change he had
intended all along to perform.

Although an extremely busy man, Houdini always found time to receive me
when I called and ever treated me with kindness and consideration. It is a real
pleasure to place this “ exclusive ” effect on record. Unfortunately, it will never
be possible to know how many magicians Houdini “ fooled ” with it, but one can
imagine how he must have laughed !

72 FARELLI’S CARD MAGIC

THE " LEFT-ABOUT ” CHANGE

Having been performing this most startling effect myself for twenty odd years,
I can recommend it with every confidence to all card workers.

EFFECT

A card having been freely selected from the pack and returned thereto, the
magician announces that he will make it appear on the top. Riffling the pack
the operator displays the top card, but the assistant declares that the card produced
is not the chosen one. In order to rectify his supposed error the conjurer takes
this card and holding it with its face towards the spectators (Fig. 74) causes it to
change to the one originally selected by merely rubbing it on his sleeve. Fig. 75.

WORKING

1. Having performed the “ Bluff ” pass or the Houdini pass a few times,
bring any freely selected card second from the top.

2. Show the top card to the assistant, removing it for a moment with the
right hand. While he disclaims all knowledge of this card, insert the
little finger of the left hand under the chosen card. Replace the
“ wrong ” card, face upwards, on top of the pack.

3. Seize both cards, at the near ends, between the tips of the middle
finger and thumb of the right hand and hold them as a single card.
Fig. 74-

4. Standing with your right shoulder towards the spectators, place the
double card against the left sleeve near the cuff (Fig. 74) and state
that you will cause it to change by rubbing it along the coat sleeve.

5. Move the cards—very quickly—towards the shoulder. When it
reaches the biceps, let go with the middle finger and press with the
forefinger. This will cause the cards to make an “ about-turn,”
bringing the chosen card into view. (Both cards will be held between
the first and second fingers and the tip of the thumb.)

6. Without the slightest pause, move the right hand, very rapidly, towards
the left cuff.

FARELLI'S CARD MAGIC 73

7. At the exact instant the turn is made, the pack should be riffled with
the left hand. The double movement—from the cuff to the biceps
and back to the cuff—should not take over one second to accomplish.
The quickest eye cannot follow the revolution of the cards, in fact I
think that this is about the only sleight to which the old time conjurer’s
phrase “ the quickness of the hand deceives the eye ” may be applied
with any degree of truth.

8. Place the double card on top of the pack and show the right hand empty.
Then remove the chosen card and hand it to the selector. While he
is inspecting it—and he will not fail to do so—make the pass, bringing
the card first shown to the centre.

Notes.—
a. The cards used must be perfectly flat and not too highly glazed or
there will be grave danger of the one over-lapping the other, after
the turn has been made. It is also safer to use cards with white borders.

b. I sincerely trust that the reader will give this sleight a thorough trial ;
I am certain that he will be delighted with the startling change.
Should he not be satisfied with his first attempts—and he probably
will not—he might, as a matter of experiment, try the effect in front of
a looking-glass, using a “ double-facer,’’ viz.., two cards glued back to
back.

c. There is a knack in turning the cards in which the right wrist plays
an important part. The up-and-down movement along the arm may
be likened to that of stropping a razor, but is not so pronounced.

d. Since writing the above paragraphs, Mr. John Mulholland has given
me a useful tip which I hasten to pass on to the reader. After the
change has been accomplished, place the double card on the top of the
pack, as explained in paragraph 8. Incline the pack towards the right
and allow the face up card (i.e., the chosen one) to slide, by its own
weight, on to the outstretched palm of the right hand. By a reverse
process slide, or rather drop, this card back on to the top of the pack,
turning it face downwards as you do so. Mr. Mulholland is of opinion
that it is better not to hand the card for examination unless requested

TO “ SIGHT ” THEto do so. I agree. BOTTOM CARD

Obviously this can be done by turning the pack face upwards, but there are
times when it is advisable to obtain the required information in a more subtle
way !

A gambler’s sleight, which I do not think has ever been described in a book on
conjuring, is the following.

Hold the pack in the left hand in the customary manner for dealing. Seize
the cards with the right hand, somewhat after the fashion adopted in the “ Longi­
tudinal Grip ” (Fig. 48) except that the right forefinger must touch the far left
hand corner of the top card. The tip of the right thumb must be below the
level of the bottom card.

Push the pack away from you to the extent of about an inch. This will cause
the bottom card to butt against the tip of the right thumb and to curl, enabling
you to catch sight of the index at the near left hand corner.

HOW TO “BRIDGE”This manoeuvre can be made when squaring up the cards.

Spring the cards from the right hand into the left and they will then be curved
thus :—

Holding the cards in the usual position for making the pass, insert the little
finger (or the third finger) of the left hand midway in the pack. With the fingers
of the right hand riffle the upper portion of the pack only and the result will
be :—

Cut the pack, or make the pass, and the bridge will be formed :—

I include this manoeuvre in the hope that it will appeal to magicians who do
not object to the use of noisy manipulations and flourishes.

74 FARELLI’S CARD MAGIC

For the Table "Spread" Force. (Chapter IV)

When it is desired to use this method of bridging in connection with the force
in question, proceed as follows :—

Having taken note of the top card of the pack, spring the cards from hand to
hand. Make the pass (or simply cut the cards) and insert the little finger of the
left hand between the upper and lower portions. Riffle the upper half only and
the pack will be like this

THE TAIL OF THE " Q ”

(A New “ Key ” Card.)
This idea suggested itself to me when handling a pack of cards one of the indices
of which was defective.

TO PREPARE

Take any Queen from the pack and with Indian ink of the corresponding colour
lengthen the tail of the “ Q " until it comes to within I 32nd of an inch from the
edge of the card. Prepare the opposite index in the same manner.

To find this card all you have to do is to hold the pack face upwards in the left

hand as if about to deal, and, with the left thumb, to cant the cards to the right,
thus — The pack being on the “ skew ” the faked index will be
visible.

Before preparing this key, it is advisable carefully to examine all the Court
cards and Aces in order to ascertain which of them has its index printed closest
to the corner. The “ A ” of the Ace and the “ K ” of the King are often easy
to fake.

Obviously this principle is not so generally useful as, say, the “ short ” card,
but it has the advantage of being quite unknown and absolutely indetectable.

When it is necessary to force a card, a duplicate of which is to be produced later,
this idea will prove quite practical. There is no need to add the card to the pack.
It can be there during the course of previous effects and will be available at a
moment’s notice.

I should point out that clean cards must be used !

A trick in which this principle may be employed with effect is described in
Chapter IX under the heading, The Partagas “ Sell.”

A SUGGESTION

It would also be possible with a pack of suitable scroll design and having no white
borders, to fake the back of any particular card as above described.

Writing this reminds me of a specially printed pack—manufactured in America
I think—which I saw many years ago. The edge of every card was marked
each in a slightly different manner, and the performer could find any card desired
by inclining the cards as explained.

CARDS WITH WHITE BORDERS

I have referred to this subject several times in these pages and I may point
out here that for all “ reversed card ” effects it is necessary to have a pack of such
cards. I have already stated that for “ second dealing ” and certain passes they
should never be used.

For the sake of clearness, all the photographs with which this work is illustrated
have been taken with white-edged cards. I find that they come out more distinctly
than any other kind.

THE MEXICAN TURN-OVER

This is very well described by Erdnase and the only advice I have to offer is
to avoid cards with white edges and to find a suitable cloth ; then always to use
that identical cloth. That is the whole secret and I may add that I have never

FARELLI'S CARD MAGIC 75

seen the sleight done in a thoroughly illusive manner except when the cloth
employed was the performer’s own property.

A piece of fairly well-worn green baize or billard-table cloth is the ideal material.

TO MAKE CARDS " SLIPPERY ”

Some performers like to handle cards which slip easily. The obvious thing to
do would be to polish each card with French chalk, but I am told that this is not
practical.

In the columns of The Magic Wand Mr. B. O’Connor gives a useful “ tip ”
which is well worth remembering. His plan is to take a large pinch of corn flour—
about as much as would lie on a penny—and to work it into the pack by riffle
shuffling a few times.

I may add, parenthetically, that this cereal is used by most English music-hall
artists instead of face powder. It possesses the advantage of being cheap and at
least equally as good as the much more expensive article sold by perfumers.

OBTAINING A " STOCK ”

The following is a thoroughly practical, although somewhat crude, method of
adding a required number of cards (a “ stock ”) to the top of the pack.

Place the stock in any convenient pocket ; the top pocket of the vest on the left
hand side, for example.

Palm off a few cards from the top of the pack. Riffle the pack with the thumb
of the left hand and produce the palmed cards in the form of a fan from the left
elbow, faces towards the audience. Place these cards on top of the pack.

Riffle the pack again and produce the “ stock ” from the pocket, the faces towards
the spectators. Apparently place these cards on top of the pack, but really palm
them in the right hand.

Riffling the pack once more, produce the palmed cards in the form of a fan,
this time from the back of the right knee. Place them on top of the pack, inserting,
if necessary, the little finger of the left hand between them and the pack proper.

I refer to this system as crude. It certainly is, but I consider it a vastly more
artistic proceeding than the “ pants’ pocket method ” adopted by many otherwise
excellent performers, in which the right hand is placed “ carelessly ” in the trousers
pocket, some very obvious fumbling taking place while the cards are got together
in readiness to be palmed. Of course should the “ stock ” consist of one
card only, the manoeuvre is less obvious, but I do not like it at all. Apart
from the “ ungentlemanly ” gesture, it seems to me that the mere fact that a
conjurer places his hand in his pocket, for no apparent reason, is sufficient to raise
suspicion in the minds of the spectators. The move may pass muster for gaining
possession of a coin or other small object, but not, I think, for secretly obtaining
a card.

If preferred, the card to be added to the pack may be secured by means of a
trousers clip to the waistband of the trousers, say, on the left side and at about
two inches from the centre. Holding the pack in the left hand at the lower edge
of the vest, the fingers slip underneath and draw out the load. For several cards,
I would suggest the employment of the special ring clip which I have described
in “ The Odin Rings.”

It would also be possible to have a special pocket at the lower edge of the dinner
jacket and opening downwards, the cards being held securely until required in the
jaws of the ring clip above mentioned. Although more trouble, this plan would
no doubt be more illusive.

The methods above outlined are for close work or when performing with a
committee on the platform. When alone on the stage the simplest and probably
the best way is to have the “ stock ” on the table (or on top of some small object)
and to lay the pack thereon for a moment or two while displaying some article
also to be used in the effect.

WITH A BORROWED PACK

In the columns of The Sphinx (November, 1931) Luis Zingone, the famous
New York card expert, writes :—

76 FARELLI'S CARD MAGIC

“ The conditions under which I constantly perform, impromptu, and
with spectators at close quarters, have forced me to eliminate from my
repertoire all card tricks which depend upon prepared cards, set-up decks,
etc., leaving me only those possible with a borrowed deck and pure sleight
of hand.”
My experience has led me to do the same, and, even when performing on the
stage, I endeavour, whenever feasible,* to borrow a pack from the audience. I
find that this enhances the act a hundred per cent ; people comment on the fact
that borrowed cards are used. They even go to the extent of interrogating the
lender of the pack during the interval and try to find out if he is a confederate !
I sometimes use a “ plant ” to bring up cards of his own, or I give him the cash
to buy a pack at a nearby shop. I have never handed a friend a pack to bring up
on to the stage, for, when “ cross-examined,” he would be obliged to confess that
the cards were my property.
It goes without saying that prepared cards, duplicates, “ keys ” and stacked
packs are, at times, extremely useful—in fact I occasionally use them myself—
but it seems to me that a magician can create more real mystery by performing
with a borrowed pack. What I wish to emphasise is that a fairly brilliant effect
executed with borrowed cards will prove ten times more convincing to a modern
audience, than the most elaborate and astounding feat imaginable, performed with
a pack belonging to the conjurer himself.
Obviously, to give a passable show with ordinary cards, it is necessary to possess
some digital ability and one must have had, in addition, a few years actual stage
experience in order to be able to “ get the stuff across the foot-lights.” Presenta­
tion and Showmanship are vastly more important than manipulative skill.
By showmanship I do not mean vulgar showmanship. The vulgar showman
panders to the vulgar taste. His one and only endeavour in life is to
create “ effect ” and that at any cost ! If he can raise a laugh, poor wight, he is
satisfied.
The Artist-Showman has higher ideals. In my humble opinion, every artist
of international reputation—whether he be an actor, a singer, a musician or “ only
a conjurer ”—he is also a Master Showman.
It is a huge subject ; a large volume could be written on the multifarious
branches of Showmanship.

LEARNING NEW SLEIGHTS

The plan advocated by Mr. Edward Bagshawe in his Foreword to The Odin
Rings is an excellent one and certainly saves a lot of time. It consists in getting a
good-natured friend to read out the instructions very slowly, the “ student ”
performing the necessary movements and referring personally to the illustrations.

Having fully grasped the author’s meaning, he should then practise before a
glass in order to ascertain the view as seen from the front. I say from the front
advisedly, for the view as seen in a mirror will give the learner only the slightest
idea of how his manipulations look from an angle.

I agree with Mr. Jack Merlin that the custom of continually practising in front
of a glass is the cause of the unfortunate habit many magicians have of blinking
at the precise moment of performing some secret manoeuvre. Psychologists
could no doubt give an explanation, but that is a subject outside the scope of this
work.

TRICKS BASECDHAPoTEnRItXhe " GLIDE ”

BEYOND a doubt the “ Glide ” or “ Slip ” as it is often called, is one of the
most generally useful among the easier sleights. It is of value, more
especially, to those performers, amateur or professional, who do not care to
devote the necessary time to the acquirement of the more advanced and intricate
manipulations.

*When in France, however, I use a pack of my own, as the cards in general use in that country
have no indices and I rely on these for some of my effects.—V. F.

FARELLI’S CARD MAGIC 77

Its only disadvantage is that this method of “ dealing ” a card appears rather
unnatural to card-players. This defect can be overcome, to a great extent, by
“ educating ” one’s audience to its employment. To my way of thinking, it is
extremely unwise to use the sleight only when it is required to substitute one card
for another. One or two cards should really be drawn from the bottom of the
pack and actually placed on the table as in “ The Three Packets ” and “ The
Partagas ‘ Sell described in this chapter.

THE THREE PACKETS

This is a very old trick described in many standard works. I explain it here
for two reasons : to give a few “ tips ” regarding an easy and smooth method of
working, but mainly as it forms a most excellent introduction to the Partagas
“ Sell ” which latter effect has a very startling climax and which will, I think, be
a novelty to English-speaking magicians.

EFFECT

A card having been freely selected from the pack and returned thereto, a spectator
cuts the latter into three packets. The operator removes the bottom card of each
packet and places it, face downwards, on the table, inquiring, on each occasion, if
the card in question is the chosen one. Receiving negative replies, the conjurer
instructs the helper to touch one of the three cards. The other three are removed
and placed in the pack. The card touched turns out to be the one previously

WselOecRteKd.ING AND PRESENTATION

1. Get the chosen card returned to the “ fan,” inserting the little finger
of the left hand under the card below it. See Chapter VIII. Square
up the pack and hold a break with the thumb of the right hand. Fig.
48 will give a rough idea of how the pack should be gripped with the
right hand while the break is held by the thumb.

2. Remark to a spectator (one on the opposite side of the table if con­
venient) :—“ I want you to cut the pack into three portions like
this . . As you say these words, place the pack on the table
at the same time cutting it at the break and making two packets,

thus :—

Diagram I.

(Performer's left.)
“ B ” is the original bottom half of the pack.
“ T ” is the original top half. The second card from the bottom of
this packet is the chosen one.
3. With the left hand cut the “ B ” half, placing the portion removed
towards your left. The result will be :—

Diagram II

(Performer’s left.)

H

78 FARELLI’S CARD MAGIC

“ 3 ” is the packet just removed from “ B.”
4. With the right hand place “ B ” on “ T,” at the same time seizing

“ 3 ” with the left and putting it on “ B.” Neatly square up the pack
and replace it on the table. The selected card is now second from
the bottom.
5. Get the spectator to cut the pack towards your right thus :—

Diagram III.

(Performer’s left.)

Place the forefinger of the right hand lightly on the “ T ” packet and
with left hand point to the “ B ” portion, saying :—“ Please cut again.”
Naturally, he will cut towards your left and the result will be :—

Diagram IV.

(Performer’s left.)

In this way the chosen card is second from the bottom of the centre
or “ B ” portion.
6. Remarking :—“ It is just possible that you have cut at the chosen
card,” seize the “ T ” portion “ narrow-wise ” between the middle
finger and thumb of the left hand, back of hand upwards, and dis­
playing the face card, inquire of the selector :—“ Was your card the
(say) Five of Clubs? Not the Five of Clubs.” With the first and
middle fingers of the right hand draw out this card and place it, face
downwards, on the table at the spot previously occupied by the “ T ”
portion.
7. Drop the “ T ” packet, still in the left hand, face downwards, on the
“ B ” packet. Seize both these packets with the left hand and display
the bottom card, the one above which, the reader will remember, is
that selected.
When told that the face card is not the chosen one, apparently remove
it, but, by means of the “ glide ” take the one above it, namely the
selected card. This you place, face downwards, in the position
originally occupied by the “ B ” packet.
8. Drop the packet, held in the left hand, on top of the “ 3 ” portion.
Take the pack, thus reformed, and display the bottom card, inquiring if
it is the selected one. When told that it is not, place it in line with
the other two cards.
The chosen card is now face downwards on the table and is flanked
by two indifferent cards, also face down.
Place the pack on the table face upwards.

FARELLI’S CARD MAGIC 79

9. Hand a pencil to the assistant and tell him to touch one of the three
cards with it. In all probability he will touch the centre one. If so,
request him to lay the pencil on it so that the card cannot be tampered
with. Now remove the two end cards, observing :—“ You say that
neither of these is your card.” Casually display their faces and slip
them into the pack which you pick up from the table.
Now inquire the name of the chosen card, riffle the pack and you get
someone to turn it over very slowly.

10. Should either of the end cards be touched with the pencil, immediately
remove it, show its face and place it in the pack, remarking :—“ That
leaves two.” Tell a second spectator to take the pencil and to touch one
of the remaining cards. In the event of his choosing the indifferent
one, remove it and after exposing its face, put it in the pack.
Should the second assistant touch the chosen card, merely tell him to
place the pencil on it and then remove the indifferent card after showing
its face.

Notes.—
a. This has been one of my pet close-work effects since I was a schoolboy.
The usual method of working is to bring the card to the top by means
of the pass and then to shuffle it to the required position ; but, as
the reader will have observed, I have eliminated these sleights which,
in this case, are unnecessary. The idea of dropping one packet on
top of the other is not, I think, common property.

b. A most excellent version of this trick is described by Mr. Bert Douglas
in Club Magic (Ed. Bagshawe & Co.). I occasionally do Mr. Douglas’
effect—combining it with some of the moves above explained—but
not when I intend to perform the Partagas “ Sell,” the method just

THE PARTAGAS " SELL ”outlined being a better “ lead-up ” to the trick in question.
This, as the title indicates, is a Sucker Gag, and although it is often unwise
to make fools of people who pay to be entertained, such effects are extremely
amusing at gatherings of a private, or semi-private, nature. When performed
with the necessary bonhomie they should never give offence. I advise the
reader to give a demonstration of the Three Packets as a prelude to this experiment.

OUTLINE OF EFFECT

A card having been chosen, the performer turns his back while the selected
card is shown to every member of the company. This card is then returned to
the pack by a spectator who shuffles the cards before handing them to the magician.

The conjurer requests someone to cut the pack into three portions. He then
removes the three face cards and places them in a row on the table as in the
previous effect, but the spectators notice that one of them is the selected card,
and thinking that the operator has made a mistake, they are secretly amused.
However, the wizard produces the chosen card from the pack and upon the three
cards being turned over it is seen that they are indifferent ones. No duplicates
are used.

WORKING

This brilliant trick may easily be performed with a borrowed pack, but I think
that the effect is more convincing when a key card is used. I would suggest the
employment of the “ Tail of the Q ” although a short card would serve admirably.

a. Force the key card, which we may assume is the Queen of Clubs, and
then turn your back to the audience, first of all placing the pack on the
table. When you have been informed that everyone has seen the card
get it returned to the pack which the spectators may shuffle.

b. Now face the company and picking up the pack observe :—“ The

problem is to find the card which you have shuffled in the pack . ..
Oh ! By the way, did you really replace it ? Sometimes people play
tricks on me! You did? Good.” As you say these words, glance
at the face card of the pack, “ canting ” the cards towards your right
with the left thumb thereby locating the key which you bring to the
bottom by means of a simple cut.

80 FARELLI’S CARD MAGIC

c. Place the pack face downwards on the table, taking care not to expose
the bottom card. Riffle shuffle the cards on the table without altering
the position of the one previously forced. Then perform the quadruple
or other false cut.

d. Request someone on your right to cut the pack into three portions,
thus :—

Diagram V.

(Performer’s left.)

“ Q ” is the packet at bottom of which lies the Queen of Clubs.
“ C ” is the original centre portion of the pack.

T ” is the original top portion.
As the helper is standing on your right he will naturally cut in this way.
If not, see that he does so.

e. Remark :—“ I am about to attempt a very difficult feat ; I shall
find the chosen card without asking for any information at all.”
This is a very important “ line ” which you will have to repeat two or
three times. If you omit it, some good-natured fool is sure to spoil
your trick by saying that you have already placed the selected card
on the table. I have been performing this effect for about twenty-five
years and “ I’m telling you ! ”

f. Proceed as in the previous experiment by placing the bottom card of
the right hand packet (“ T ”) face downwards on the table,
observing :—“ In tins case I ask for no information. I place the (say)
Ace of Spades on the table.”

g. Drop the “ T ” packet on top of the “ C ” portion. Display the face
card of this “ double ” packet, draw it out and place it face downwards
beside the other, remarking :—“ Here toe have the (say)1 Two of
Diamonds.”

h. Place the cards, held in the left hand, on top of the “ Q ” portion.
Show the face card of the pack, observing :—“ The last card is the
Queen of Clubs.” Apparently draw it out, but, by means of the
glide, substitute for it the card next above. This card you lay on the
table in line with the other two.

i. The Queen of Clubs is now at the bottom of the pack. Draw out the
one above it—and turning it face upwards—use it as a “ pointer ”
to call attention to the row of three cards :—“ By the aid of these three
cards I shall discover the chosen one, but i ask no questions ! ”
Replace the “ pointer ” on the bottom of the pack and turn the latter
face upwards. This card conceals the Queen of Clubs.

k. Continue :—“ l shall draw cards, one by one, like this . . .”
(Remove the “ pointer,” show its face and replace it) “ . . . until

someone calls ‘ Stop.’ I shall then produce the selected card. You
will admit that it is a difficult feat. You shuffled the pack before
returning it to me and you have not told me the name of the card.

FORTUNATELY I DO NOT NEED TO KNOW IT ! ”

Draw out the bottom card and lay it face upzvards on the table, counting
“ One.” With the third finger of the left hand “ glide ” back the key
card, seize the next one and place it, also face upwards, on top of the
other, counting “ Two.”

Proceed in this way until someone says “ Stop,” then draw out the
Queen of Clubs and lay it, face downwards, apart from the rest.

FARELLI'S CARD MAGIC 81

Request somebody to place a small object, such as a coin, on top of it,
then remark :—“ If the experiment is successful that is the chosen
card ! ” Before zee turn it over, would you please tell me the name of
the card you chose ? the queen of clubs ! I think I saw it a moment
ago ! ”

Notes.— Run through the cards you have dealt and someone is sure to say :—
i. “ It is that one ? ” pointing to the card on the left of the row.
Slowly—very slowly—turn over the three cards and then get the
helper to turn up the Queen of Clubs, also very slowly.

I know no more astonishing trick for close work than this and I have
never failed—not once—to create a big sensation with it. I have been
performing it continually since, as a raw youth, it was demonstrated
to me in Spain by Sr. Partagas, the originator, and I may repeat the
words that Mr. David Devant once wrote in connection with the “ Egg
Bag ” :—“ ... if the conjurer who takes up this trick, studies it
thoroughly, and presents it in the wav I have suggested, does not make
a great success with it, I can assure him that the fault is with him and
not with the trick, and I strongly advise him to try again.” (“ Lessons
in Conjuring.”)

ii. My working differs, in many particulars, from that of the originator.
If I remember rightly, Sr. Partagas used to bring the chosen card third
from the bottom of the pack. He would then slide off two cards, one by
one, placing them, face downwards, on the table. After displaying the
third card, he would “ glide ” it back and seize the next two cards.
These he would place on the table on top of each other and in line with
the two cards previously dealt. At once calling attention to his sup­
posed “ mis-deal,” he would exclaim :—“ Oh, there are two cards
there ! ” and remove the upper one, show its face and replace it on the
bottom of the pack, thereby concealing the chosen card. He would
then bring the experiment to a close as I have explained,

iii. In spite of all precautions it not infrequently happens that some
spectator will insist in informing the operator that the chosen card is
already on the table. The best plan, in such cases, is to pretend not
to overhear his remark and it is advisable that the magician should
keep up a running flow of chatter without any perceptible pause between
the sentences. When it is impossible to ignore the interruption, the
best course to pursue is to say :—“ Oh, in that case I had better finish
in a different way.” The conjurer can then slip the chosen card to the
top and perform the Veneri “ Turn,” explained in Chapter XII.

A MATTER OF THOUGHT
While on the subject of the “ glide ” I must not omit a new method of presenting
an old trick based on this easy sleight.

EFFECT

The same as the final stage of the Partagas “ Sell” ; the chosen card is produced
from the bottom of the pack at a number decided upon by a spectator.

WORKING AND PRESENTATION

1. Position.—The selected card is second from the bottom of the pack.
2 Someone is asked to think of a number—preferably a small one,

six or seven, for instance, in order to save time in counting.
3. Casually displaying the bottom card, the magician inquires :—“ Is

‘ One ’ the number of which you were thinking ? ” Receiving a negative
reply, he places this card, face upwards, on the table. The chosen
card is now at the bottom of the pack.
4. The conjurer asks :—“ Are you thinking of number two ? ” If the
reply be “ No,” he glides back the selected card and places the
indifferent card, also face upwards, beside the other
5. He continues in this way until he arrives at the number thought of.
He then pauses a moment and slowly turns over the pack with the left

82 FARELLI'S CARD MAGIC

hand, remarking:—“ Congratulations! You thought of the right
number ! ”
This novel idea is described by Mr. Will. Higgins in Edward Bagshawe’s
Magical Journal (October-November, 1932), but the same mode of presentation
may be used in conjunction with the Second Method of Second Dealing. The
execution is by no means so easy, but it is more natural to deal from the top of
the pack than to draw off cards from the bottom.

EASYCHEAPFTEFR XE. CTS

THE heading of this chapter is self-explanatory.

SUBTLETY versus MANIPULATION

For years past I have avoided, whenever possible, the usual “ Take a Card”
formula of the card conjurer. It seems to me that when a magician fans out a
pack of cards and asks a spectator to remove one of them it does not matter how
wonderful the climax may be, the first stage of the effect is bound to be common­
place, and, for that reason, uninteresting to the audience. Of course, I know
that many excellent performers disagree with me. They may be right and I may
be entirely wrong.

For many years I followed the work of Leipzig with the most lively interest, and
I noticed that in only one of his effects, namely, the stabbing trick, did he get
cards actually removed from the pack. I have not had the pleasure of seeing this
great artist since the War, so, naturally, I do not know what he does now.

For the following version of the standard “ Choose a Number ” trick, two
advantages are claimed :—

a. The preliminaries are those of a game of Nap.
b. No pass or sleight of hand is required.
I do not mean to say that card workers should not practice sleight of hand ;
on the contrary a sound knowledge of all standard moves is a sine qua non of the
expert, but he should have recourse to digital ability only when it is inexpedient
to do otherwise. “ Subtlety before Manipulation ” would be a good motto.

EFFECT

The old plot is excellent and cannot be improved upon : a chosen card appears
in the pack at a number decided upon by a spectator. The mode of presentation
is, however, quite novel.

GENERAL WORKING

1. Borrow a pack of cards and immediately deal out four hands of five
cards each as if about to play Nap. It is inadvisable, I think, to shuffle
the cards before doing so as it might be noticed that this is not done
subsequently.

2. Instruct a spectator to pick up one of the hands and to choose one of
the five cards.
Still holding the pack in the left hand, gather up the remaining cards
in the following way :—
i. Place one hand of five cards on top of the pack and insert the
left little finger under the top card of this packet.
ii. Put the two remaining hands on top of this card.
iii. Hold a break with the little finger of the left hand, thereby
separating the eleven top cards.

3. Remark :—“ Instead of dealing your card face upwards on the table
as is usual in card games. I want you to deal it face downwards into
the pack.” Cut at the break, get the card returned on top of the left

FARELLI’S CARD MAGIC 83

hand portion of the pack, replace the right hand packet and neatly
square up the cards, letting it be quite obvious that no manipulation
takes place. Drop the pack, face downwards, on the table. The
selected card is twelfth from the top.

4. Address a second spectator as follows :—“ Would you like to become
a magician? You would. Very well, let us commence with a very
simple little experiment. I want you to take the pack into your own
hands and then to think of any number you like—say, between one
and forty. Having done so you will concentrate on that number and
command the card, just chosen by your friend, to appear at that number
from the top! Let me explain what I mean. Suppose you think of
number thirteen; concentrate on that number and command the
selected card to appear thirteenth from the top. Then count down
like this . . .”

5. Deal thirteen cards, face downwards, and the result will be that the
chosen card will be second from the top of the packet on the table.
Then add :—“ If you are successful in your attempt, the thirteenth
card will be your friend’s ! ” As you say these words, pick up the card
on top of the pile, casually show its face and calmly place it, face
downwards, on top of the pack held in the left hand. Inquiring :—
“ Do you quite understand ? ” pick up the packet of twelve cards and
place it on top of the pack. The chosen card is the top one of the
pack and you may be quite certain that no one has discovered anything,
for the simple reason that there is nothing to find out.

6. Continue :—“ Take charge of the pack. Now think of a number.
Concentrate for a moment. Mentally command the chosen card to
move to the position you are thinking of. Have you done so? Right.
What number did you concentrate on ? Seven. Notice that I do not
touch the cards. Count seven cards,face downwards, on to the table.”

7. The assistant does as instructed, but, naturally, he finds that he has
failed. Unknown to the audience, the chosen card is now at the
bottom of the packet on the table. Remark :—“ Well, as this is your
first lesson you must not be discouraged! Let us try again. Replace
the cards on the pack. Do you know what the trouble is ? Your
powers of concentration are not sufficiently developed! Perhaps it
will make it easier if you name the selected card. I trust that your
friend will not have any objection ? What was the card ? The Queen
of Clubs. Now say, ‘I command the queen of clubs to appear
seventh from the top ! ’ Just allow me to place my hand close to
your forehead for an instant. That may help, but I shall not touch
the cards. Now command the Queen of Clubs to move. Good. Now
count down to the seventh card.”

Notes.— It might be as well, as a precautionary measure, to sight the chosen
a. card as the packet of twelve cards is replaced on top of the pack (para­
graph 5), for there is just a chance that the assistant may want to
shuffle the cards at this stage. Provided the helper be “ handled ”
properly, this chance is a very remote one, but experienced performers
never run unnecessary risks.

b. Being acquainted with the identity of the card, the wizard could always
bring the trick to a successful conclusion. I would allow the pupil to
fail (paragraph 7), and then, by means of a riffle shuffle, I would locate
the selected card and bring it to the top. Another number could then
be decided upon, and, professedly in order to show the learner how to
do the trick I would disclose the selected card by the Veneri “ Turn ”
mentioned in Chapter XII.

c. It is also possible that the assistant might succeed in his first attempt !
The odds are forty-eight to one against (it will be remembered that
four cards are absent from the pack), but I have seen more extraordinary
coincidences than that with the paste-boards . . .

d. This “ mise-en-scene ” is described by Mr. Merton—under the
caption “ Hal Merton’s Best ”•—in an old number of “ The Sphinx,”
but the method indicated by him is beyond the skill of many conjurers.

84 FARELLI’S CARD MAGIC

A " CLOSE-WORK ” DISCOVERY

Two complete packs are required and it is advisable that at least one of them be
borrowed.

ROUGH OUTLINE OF EFFECT

A spectator draws a little packet of cards from the centre of his own pack,
notes the card facing him, squares up the pack, cuts it several times and hands it
to the performer. The card thus freely chosen is discovered by the magician.

WORKING AND "PATTER”

In this instance everything depends on the mode of presentation, therefore I shall
explain it fully.

1. Hand your pack to a spectator and request him to lend you his.

2. Shuffle his cards and tell him to mix yours. While thus engaged
take the opportunity of noticing the top card of the borrowed pack,
which is, let us assume, the Ace of Clubs. Then inquire :—“ Shall
we use your cards or mine ? ” In all probability he will reply :—
“ My cards,” in which case you hand him his pack. In the unlikely
event of his saying the contrary, you merely remark :—“ Very well,
give them to me. You take yours.” In this way you know the top
card of the pack he holds, e.g., Ace of Clubs.

3. Now add :—“ Please draw a small packet of cards from the centre of
your pack and look at the card facing you.” Illustrate what is meant
with the pack you hold. (See final note hi)

4. Tell the assistant to place the packet on top of his pack. (This will
bring the card which he has just noted on top of the Ace of Clubs.)
Again illustrate what you mean by placing your little packet on top of
the cards you hold.
Instruct the helper to cut his pack a few times, acting in like manner
yourself, then exchange packs.

5. Remark :—“ Up to the present we have done the same thing. We
have each noted a card. Is that right ? All quite fair so far ? Have
you any idea of the card I looked at ? No, well it follows that I can’t
possibly know yours. I am going to pick out my card and I want you
to find yours. Be careful not to let me see it.

Run through the cards which you hold until you come to your “ key,’"
the Ace of Clubs. Remove the one above it (i.e., the actual card
selected) and place it openly on top of the pack, but without showing
its face. The assistant, following your instructions, places the duplicate
of his card on top of the pack he holds, also without exposing its face.

6. You continue :—“ So far we have still done the same thing. You
have your card on top : I have mine. We shall now vary the pro­

ceeding slightly. I shall show you my card, but I do not want to see
yours.” By means of the double card turn-over, show the face of
the second card from the top of the pack. (Obviously the helper does
not know that you have two cards.)

7. Having shown the face of the second card to the company, replace
the two cards, face downwards, on top of the pack, and remark :—

“ I want you to place your card, face downwards, on the palm of your
hand, like this.” As you say these words, deal the top card (viz.,
the actual card the spectator chose) face downwards on to the palm of
your right hand. The helper should do the same with his card.

Holding the pack, in the left hand, well away from the card in your

right, observe :—“ I just want you to allow me to touch your card
with the corner of mine.” Suit the action to the words and at the same
time riffle the pack, adding :—“ Please turn your card face up . ..
very slowly.” When he has done this, turn your card, also very slowly,
showing that it is of the same suit and value as his.

Notes.—

a. Although almost childish in its simplicity, this effect is not unworthy
of the serious attention of any card expert in the world, no matter

FARELLI'S CARD MAGIC 85

how skilful he may be. In fact, the greater his reputation, the greater
will be the success of this extraordinarily simple little feat.

b. A strange thing about it is that the victim is apt to forget, when des­
cribing what has happened, that he exchanged packs with the
performer !

c. When taking back the pack from the spectator (paragraph 4) it is as
well to notice if the “ key ” is at the bottom. If luck be in the operator’s
favour he is ready to perform a miracle for he knows that the card
just above it is the selected one and it will not be necessary for him or
the helper to run through the packs. I would suggest finishing with
the “ Three Packets ” described in Chapter IX.

d. It should be unnecessary to point out that if the key card is at the top,
the selected one is at the bottom.

e. A simple way of bringing the effect to a close is merely to show that the
card which you have placed on top of the pack (paragraph 6) is the
same as the one selected, that is to say, the change is not performed.

f. The following addition may suit some enthusiasts, although it seems
to me an anti-climax. The trick having been brought to a conclusion
(paragraph 7) the magician turns to someone on his left and inquires :—
“ Did you see the card move ? ” at the same time making the top change.
Riffling the pack, he adds :—“ It’s quite easy ’ ” He then shows that
the card in his right hand is now the one he originally claimed as “ his ”
card, namely, the second from the top of the pack. See paragraph 6.

g. The conjurer will probably be asked to repeat the experiment : I
refer to the “ Close-Work Discovery ” and not to the top change. It
would be extremely unwise to do so in exactly the same way, but he
might well give a demonstration of the “ Follow-up ” about to be
described.

h. Re paragraph 3. I trust that the reader will have understood what is
meant by drawing out a small packet from the centre of the pack. Fig.
40 gives a good idea of the position, but a packet from the centre
should be drawn out—not the top portion as illustrated.

To the best of my knowledge this move has never been described in
print before.

THE " FOLLOW-UP ”

Some slight preparation will be required, but this can easily be done in the
course of the previous experiment.

As you exchange packs (paragraph 4 ante) you must take note of the bottom
card (the Queen of Hearts, for instance) of the pack which you give to the spectator.

When you run through the second pack, professedly to pick out your card
(paragraph 5 ante), you cut the cards so as to bring the Queen of Hearts to the
bottom.

Therefore, unknown to the audience, the cards at bottom of both packs are the
same.

PRESENTATION AND “ PATTER ”

a. “ You want me to do it again ! Very well. Let us place both packs
on the table. Which shall I use this time ? This one. Very good, you
take the other. From the top of your pack cut off about half the pack,
like this.” Illustrate what is meant by cutting your pack. “ Place
the cards you have cut off in your pocket as I do with mine.”

b. Position :—The Queen of Hearts is at bottom of both packets.
Remark :—“ Count the cards that remain on the table. Twenty.
I shall count mine. Eighteen. You are richer than I am. The
Queen of Hearts is now on top of both packets—unknown to the
audience, of course.

c. Continue :—“ Pick up your cards like this. I want you to glance
at the top card of your packet and I shall look at mine. Show your
card to your friend, but do not let anyone else see it. In the meantime I
shall show mine to this gentleman who will act as a witness. By means

86 FARELLI’S CARD MAGIC

of a double card turn-over show the second card—say the Four of
Spades—to someone near you and then, addressing the company in
general, remark :—“ There are only two people in the world who know
my card, this gentleman and myself. Is that right ? And only two
know the other card. Is that correct ? ”

d. “ I shall now place my card (at this point again allow the witness to
see the face of the second card) on the palm of my right hand and I
want our friend to do likewise.” Replace the double card on top of the
packet and slowly deal the single card—the Queen of Hearts—face
downwards, on the palm of your right hand. The assistant will also
place his Queen of Hearts on his hand.

e. Proceed :—“ As before I shall touch your card with mine. Before
you turn it up, would you kindly name it? The Queen of Hearts.”
Addressing the witness enquire:—“ What is mine? The Four of
Spades.”

f. Riffle the packet in the left hand and finish as described in paragraph 7
ante, that is to say by the turning over of both Queens.

Note.—
Like the trick explained in the previous sub-section, this effect will
provoke a big sensation in the hands of a good showman, especially one
possessing the reputation of great digital ability.

THE " SOO ” STRIPPER PACK

This simple idea was shown to me by the late Chung Ling Soo in the early days

of the War and although it has, I think, been since published elsewhere, it is not
exactly common property.

Holding an unprepared pack face downwards in the left hand, the thumb at
the far left corner, the forefinger curled underneath the bottom card (that is to

say, in the position adopted for the one handed riffle), Soo remarked :—“Let me
show you how to change this into a ‘ biseaute ’ pack.”

He then gripped the pack with the right hand, as if about to make the standard

pass, and drew his left thumb-nail downwards, along the far left hand edge of the
cards, making a mark thereon.

Of course, the cards did not become strippers, but the pack could be used in the
same way. A card having been selected, the magician reverses the pack, end for

end, and gets the card returned. After the pack has been shuffled by the audience,
the chosen card can be located by glancing at the edges of the cards. The selected
card will be the only one, on that particular edge of the pack, marked by a tiny

white dot.

This reminds me of a notion of my own . ..

THE “DOUBLE CRIMP”

I am fairly certain that this method has not been published before, but “ you
never can tell ! ”

Crimp the cards by riffling at one corner in an upward direction. Fig. 67.
Then crimp the diagonally opposite corners by riffling in the opposite direction.
The following diagram should make my meaning perfectly clear :—

FARELLI’S CARD MAGIC 87

The cards at the corner marked “ U ” are bent upwards, while those marked
“ D ” are crimped downwards.

The curves must be so minute that when a card has been selected from a pack
thus prepared, they will be imperceptible to the spectator. However, when the
card is returned to the pack—which latter has been reversed end for end—it can
be at once located by the conjurer. The crimping having been put in in opposite
directions makes this a matter of comparative ease, as a trial will readily convince
the reader.

THE CARDCHTAPOTER"XIWALLET ”

AGES and ages ago—two or three years before the Great War to be precise—
the Card to Pocket effect was very popular among magicians from Land’s
End to John o’ Groats : in fact, it may safely be said that every second
conjurer one met had a version of it to demonstrate to his colleagues. I first
learned the secret in Germany in 1909, and it is described in Downs’ Art of Magic,
page 92.

Unfortunately, it soon met the fate of many other excellent tricks and became
hackneyed : for that reason I discarded it from my stock of close work effects.
What was my surprise, therefore, to come across this dear old friend in a recent
issue of The Magic Wand (June-September, 1932) where Mr. A. De Brett devotes
a short article to it, describing the working exactly as we used to perform it of
yore ! More recently still, other contributors to the columns of the same periodical
have referred to versions of the trick, and hence I am led to believe that it is coming
into fashion again, although the old way of working has long been forgotten. In
support of this, I may point out that Mr. De Brett has puzzled magicians with the
original method (vide the article above mentioned).

When this splendid trick was at the height of its popularity I collected a number
of variations and as the majority of these can be used in conjunction with the
faked “ wallets ” now in vogue, I have decided to describe them in this chapter.
I shall include also a few novelties of more recent invention in the hope that the

A STRANGE HALLUCINATIONreader will find at least one version to suit him.

This is a most excellent trick to do when seated at a card table as the entire
procedure is in strict accordance with the usual card table practice. If desired,
it may be performed with hardly any sleight of hand excepting the palming of
one card.

ROUGH OUTLINE OF THE EFFECT

A spectator having merely thought of a card, the magician causes it to disappear
and to pass into his pocket, or, if preferred, into his “ wallet.” The conjurer
does not see the faces of any of the cards.

WORKING AND “ PATTER ”

a. Remarking :—“ Let us assume that we are going to have a little game
of Poker,” deal five hands of five cards each, face downwards, on to the
table, making twenty-five in all. Request a spectator, seated in front
of you, to choose one of the hands and to remember one of his cards.
See final note vi.

When he has done so, gather up all the cards, taking care that the
assistant’s packet be placed between the other four, that is to say, that
ten cards be above it and ten below.

b. Place the twenty-five cards on top of the pack and submit the latter
to a series of false cuts. I would suggest the Erdnase Quadruple
Cut and also the one which retains the complete “ stock ” described
by the same authority. After the false cutting, the “ stock ” of twenty-
five cards will still be on top of the pack in the identical order as before.

88 FARELLI'S CARD MAGIC

Now observe :—“ I am going to deal another five hands and you
will find that the card which you thought of will be one of an extremely
good Poker hand.”

Having dealt the twenty-five cards, face downwards as before, palm
in the right hand, one card from the top of the pack. With the left
hand place the pack aside. See final note vi.

c. The spectator glances at the different hands until he finds the one

containing his card. Should he admit that he has a good Poker hand,
say :—“ Rather peculiar, is it not ? ... I shall now deal you a

Whist hand.” However, should he state that his hand is useless,
remark: — " I am afraid that you are unlucky at Poker! Let us
try Whist.”

d. Again gather up the cards, adding the palmed card to one of the packets.
Do this in such a way that eleven cards (i.e., two “ hands ” plus the
palmed card) be above his packet, and ten cards—namely two packets—
below it.

Obviously the complete packet now contains twenty-six cards. Do
not add them to the pack, but perform a series of false cuts, this time
with twenty-six cards only.

Now deal thirteen cards on to the table, observing :—“ There is
your Whist hand and your card is in it. Let us see your card.”

The top card of the thirteen remaining in your left hand is the selected

one. You must palm this card in the right hand while the helper
examines the thirteen he holds. Place the remaining twelve cards near
the assistant and as far away from the pack as possible. Also take
the opportunity of slipping the selected card into your pocket, or into

your wallet. Owners of the special pocket-books recently placed on
the market will know how to do this.

e. Naturally the helper will declare that his card is not among the thirteen.
Tell him to spread them out and then say : “ It must be in the other

packet.” Get this packet (now containing twelve cards only) examined,
remarking :—“ We had five hands of five cards each : twenty-five
cards in all. Please count them . . . still twenty-five. Do you
know what the trouble is ? Just let me touch the tips of your fingers

so that I may read your thoughts . . . I see that you imagine
that you saw the (say) Ten of Diamonds, but that is impossible for that
happens to be my ‘ lucky ’ card which I always carry about with me in
my pocket as a sort of mascot.”

Take the wallet from your pocket and show that the Ten of Diamonds,
or whatever the card may happen to be, is now under the celluloid
facing.

Notes.—

i. The above is an up-to-date version of a very old trick, but I claim
originality for the presentation and also for the idea of adding an extra
card. This, however, is not necessary. The false cuts may be also

eliminated.

ii. Should the reader elect to perform the trick without any false cutting,
he would be well advised to refrain from placing the packet of twenty-
five cards on top of the pack, as instructed in paragraph b.

iii. I neglected to point out that the magician should sight the chosen card

as he slips it into his pocket.

iv. Expert card workers will have noticed a rather ingenious subtlety. At
no time was the assistant asked to say in which packet his card chanced
to fall. The desired information was obtained indirectly in course

of the demonstration.

v. The only way in which the trick can go wrong is by the helper dis­
arranging his hand of five cards (paragraph c). The performer should
watch him closely to see if he does this and keep his eye on the centre
card of the five. This is always the selected one.

vi. Re paragraphs a and b. The twenty-five cards should be dealt as if
about to play a game, that is to say, the first packet should contain the
first, sixth, eleventh, sixteenth and twenty-first cards dealt. In other

words, the cards should not be dealt five at a time.

FARELLI'S CARD MAGIC 89

UP HIS SLEEVE

Here is an amusing little interlude which will be useful to the close worker. A
card having been selected from the pack, replaced therein and the cards shuffled by
the audience, the conjurer remarks :—“ You all know the saying ‘ to have a
card up one’s sleeve’ : let me give you an illustration of what is meant by this
expression. Personally I always use the Joker.” The magician runs through the
pack, removes the Joker and slips it into his left sleeve, leaving a portion of the
back of the card in sight. He then continues :—“ Of course there is not much
use having a card in one’s sleeve if one cannot get it into the pack. Watch ! ”
Passing his right hand over the bottom card of the pack, the operator causes it to
change to the Joker. The card just placed in the sleeve is withdrawn and shown
to be the one selected.

Very little explanation should be necessary. The card is forced. After the
spectators have shuffled the pack, the performer fans the cards towards himself
and brings the Joker to the top by means of a simple cut. He then picks out the
chosen card and, taking care not to expose its face, he places it on top of the pack.
Using a double card turn-over, the face of the Joker is shown to the audience.
The chosen card—supposed to be the Joker—is openly slipped into the left sleeve.
A colour change brings the Joker from the back of the pack to the face, and the
selected card, after being named by the chooser, is removed from the sleeve.

If preferred, the chosen card supposed by the audience to be the Joker—may
be placed in the pocket instead of in the sleeve.

THE “SANDWICH”
The root idea of this experiment is due to the ingenuity of Mr. Tom Sellers,
the Tabloid Trick Expert. Although struck by the novelty of the effect and
desirous of adding it to my repertoire, I was prevented from doing so as the method
of working—described by the originator in a recent issue of The Magic Wand—
was unsuitable for the branch of Card Magic in which I specialize, namely, ex­
periments with borrowed cards. In Mr. Sellers’ version the pack had to be
the conjurer’s own property and had to contain a duplicate King of Clubs placed
in a given position, consequently the effect could not be introduced impromptu.
In order to overcome this difficulty, I devised, after many fruitless attempts, the
following routine.

ROUGH OUTLINE OF THE EFFECT

A card freely selected from a pack, just that instant borrowed, is marked by the
chooser. It then disappears from between two Jokers and passes into the
magician’s pocket. All moves are made slowly and deliberately and there appears
to be no loophole for deception.

WORKING AND PRESENTATION

I. Preliminary.—Run through your own pack, remove the Joker there­
from and place it face upwards on the table. Request a prospective
victim to do likewise, stating that two Jokers are required. Then

inquire :—“ Which pack shall we use? Yours or mine? Yours.
Very good. I shall place mine aside.”

II. The Selection.—Please take one of the Jokers and insert it in the
pack which I riffle very slowly. Which card will you have ? The one

above the Joker or the one below it ? The one below. Very well.
do not let ME see it. Remove it . . . and the Joker as well.”

III. Marking the Card.—“ Please take this pencil and make a tiny mark—
a dot will do—on the face of your card, be careful not to let me

see it ! ”

While this is being done, slip a duplicate Joker from the vest to the
bottom of the pack held in the left hand. See Obtaining a “ Stock ”
in Chapter VIII. This duplicate must be placed in the clip with its
back towards your body so that it will be reversed when added to the

borrowed pack.

IV. Moving One Card.—It is now necessary to move one indifferent card
to the bottom. This could be done by the slip, but I prefer

90 FARELLI’S CARD MAGIC

the following subtlety. Observe :—“ Before going any further, I want
you to remember exactly what has been done. You inserted the Joker
in the pack and you removed the card below it. That card you have
marked

As you say those words, take the top card—and without showing its
face, but glancing at it yourself—insert it partically about the middle
of the pack. Continue :—“ If you think that I have seen your card
you may take another one. You are quite satisfied.” Remove the
card you have sighted and place it at the bottom of the pack. Lay the
cards on the table, taking care not to expose the bottom one.

V. Position.—
i. On the bottom of the pack : the card just glimpsed.
ii. Second from bottom : duplicate Joker, reversed.

iii. On the table : two Jokers, both face up.

VI. The Sandwich.—Proceed :—“ Lay your card, face downwards, on top
of one of the Jokers. Now cover it with the other Joker.” You must
arrange matters so that your Joker will be underneath. Should the
assistant place his card on your Joker, well and good. Merely tell him
to place the “ sandwich ” on top of the pack. In the event of his placing
his card on his Joker, instruct him to deal the three cards, one by one,
on to the pack. The result is the same : your Joker is below the chosen
card, his Joker on top.

VII. The Cut.—Continue :—“ Note watch closely ! I give the pack one cut,
bringing your imprisoned card to the approximate centre. Is that fair ?

VIII. The Deal.—“ I now deal the cards very slowly . . . until I come
to a Joker, a face down card and the other Joker.” The first Joker
to turn up will be your duplicate : the next card will be the one you
“ sighted,” followed by the Joker belonging to the pack. Lay these
three cards in a row, overlapping each other, the “ sighted ” card face
down, the Jokers face up. The card on top of the pack is the chosen
one. The second card is your Joker—the one originally shown.

IX. The “ Reading.”—“ I am now going to do something extraordinary !
I am going to tell you the name of that card.” Pause a moment and
then name the one you sighted. When told that you have made a
mistake, feign embarrassment, and say :—“ That is strange. I do
not know what can have gone wrong! Are you sure that you have
not forgotten the name of your card ? T urn it over.”

X. The Production.—As the helper does as requested, palm the two top
Notes.— cards in the right hand and remark :—“ I know what the trouble is !
These two Jokers tried to play a joke on me but, fortunately, I've got the
better of them this time.” Produce the selected card from your pocket
and leave the duplicate Joker therein.

a. As in all reversed effects white edged cards must be used, and it is
advisable that your Jokers be somewhat similar in design to the one
belonging to the pack, otherwise your victim might notice that they
turn up in the wrong order. See paragraph VIII.

b. The only difficulty is in dealing the cards in such a way as to avoid
exposing the edges of the face up Joker below the selected card. The
cards should not overlap as the deal is being made.

c. The working is smoother when a “ long ” Joker is used. The palming
of the two cards then becomes extremely easy and even a conjurer
should not detect the move, because, if presented properly, he will
really believe that the trick has failed. Even should he see you palm,
little harm is done : he should never suspect the existence of a duplicate
Joker.

d. Instead of having recourse to a “ vest load ” the duplicate Joker could
be added by palming it on, but I do not think that it would be possible
to deceive an expert by this means, and it is among magicians that
this trick will obtain the most success. From the point of view of the
layman, there is a host of more startling effects in Card Magic, but
to a conjurer it is a real “ puzzler.”

FARELLI’S CARD MAGIC 91

A DOUBLE SURPRISE

This is practically a fool-proof effect and contains, as the title indicates, two
surprises. The only skill in sleight of hand that the performer need possess is the
ability to palm one card.

EFFECT

The pack having been shuffled by a spectator and cut by him into two portions,
one of these halves is handed to the conjurer. Taking his packet, the magician
makes a mental note of one of his cards and remembers also the number at which
it stands from the top. This packet is placed on the table, while the helper takes
his own half and does exactly what the magician has done.

The artist then deals a few cards from his packet until he comes to the one he
chose a moment before. This card he lays, face downwards, on the table. The
assistant follows suit.

The performer then states that if he were a betting man, he would lay long odds
that no one could tell the name of his (the magician’s) card. When ultimately
turned over this card is found to be a double backed card. The helper is then
requested to name the card he just placed apart from the others—presumably the
selected one—but when it is turned up it is found to be an indifferent card. The
one actually chosen is removed from the operator’s pocket-book.

The routine is extremely convincing and the assistant is prepared to swear that
the performer never tampered with his (the assistant’s) half of the pack.

PREPARATION

In addition to the special wallet, all that is required is a double backed card, or,
if preferred, a blank card or a score card. This should be concealed in, say, the
lower waistcoat pocket on the left side.

WORKING

a. After the necessary preliminaries have been carried out (see “ Effect”),
say to the helper :—“ I am going to glance at the face of my cards,
remembering one card and also the number at which it lies from the top.
In order that you may not see what I do, I shall turn my back.” When
your back is turned slip the faked card on top of the packet and quickly
place three or four cards above it.

b. Lay your packet on the table and instruct the assistant to do as you
have done, namely, to remember one card and also its position from the
top. Then get him to place his packet beside yours.

c. When he has complied with your request, pick up your own packet and
remark :— “ Up to the present we have both done the same thing : you
have noted one card, so have I. I take my packet, you take yours.
While pattering, palm one card in the right hand (personally I palm from
the bottom, using the “ side-steal ”) and, as you push the spectator’s
packet towards him, add this card to the top.

d. Proceed :—“ My card was fourth from the top, therefore I deal four
cards on to the table, face downwards . . . and I place the

remainder beside it. You do likewise.”

e. Position : See diagram overleaf in which . ..

“ 4 ” is the small packet dealt by the performer.
“ 7 ” is the small packet dealt by the spectator, containing, say, seven

cards.
“ R.P.P.” is the Remainder of the Performer’s Packet.
“ R.S.P.” is the Remainder of the Spectator's Packet.
The meaning of “ d.b.” and “ i.c.” will be explained in the next
paragraph.

f. Continue :—“ I push my card forward like this. You do the same.”
“ d.b.” indicates the position of the “ double-backer.”

92 FARELLI'S CARD MAGIC

“ i.c.” is an indifferent card, supposed by the helper to be the one he
chose.

As a matter of fact the selected card is on top of “ R.S.P."
Plan of Table.

d. b. i. c.

47

R.P.P. R.S.P.

(Performer's left.)

g. Request someone to place a penny on each of the single cards, namely,
“ d.b.” and “ i.c.” When this is done observe :— "Only two cards
are required in this game,” and gather up the packets in the following
order :—
With the right hand pick up the spectator’s packet (R.S.P.).
With the left hand take your own packet (R.P.P.).
Place the right hand packet on the left hand packet.
With the right hand pick up “ 7 ” and place it on “ 4.”
Pass these cards to the left hand, but place them underneath those
already there.
In this way the selected card is on top of the pack, held in the left hand,
and the table is clear, except for “ d.b.” and “ i.c.”

h. Remark :—“ If I were a gambler I would bet all the money I happen
to have with me—not very much, I never carry more than a thousand
pounds—against those two pennies that no one in this room could name
my card. The odds are fifty-two to one against, but I would lay a
million ! Fortunately I am not a betting man, for anyone who took me
on would lose ! ” As you say these words, palm the top card and
introduce it into the wallet. As soon as you have done so, remove the
wallet from your pocket and place it on the table beside the two cards
“ d.b. ” and “ i.c.”

j. The next step is to get someone to turn over the double backed card
and when the mirth has subsided you address the helper as follows :—
“ Now just let us have a look at your card. Before you turn it over be
good enough to name it .. . The Six of Clubs . . . Turn it
up. The Nine of Diamonds ! Note open the pocket-book and take
out the thousand pounds ! ”

Notes.—
i. It might be more artistic to use a score card instead of the double­
backer, but it would not be so surprising.
ii. It would be extremely unwise to bet on this trick for someone might
have heard of the effect . . .

FARELLI'S CARD MAGIC 93

THE ORIGINAL CARD TO POCKET

This is the trick referred to at the beginning of the present chapter. I
give a brief description of it here as it is absolutely essential that the reader under­
stands its working in order fully to appreciate the “ points ” of the versions—based
on entirely different principles—about to be explained in the following sections.

Ask a spectator to glance through the pack and to remember any card, also the
number at which it stands from the top. Take the pack from him and remove any
card situated near the bottom. Openly place this card in your pocket—without
exposing its face—and immediately palm it out and add it to the top of the pack
held in the left hand.

Inquire the number at which the selected card stood and then deal the required
number of cards, face downwards, on to the table. Instruct the helper to look
at the card on top of the pile, and, while he does so, palm the chosen card from
the top of the pack. Produce this card from your pocket.

FOR CONJURERS ONLY

This is a “ sucker gag ” with which to intrigue a brother wizard, preferably a
man of considerable experience and likely to be acquainted with the original
version.

EFFECT

Practically identical to the method previously described.

WORKING

Having placed a “ short ” card on top of the pack, instruct your victim to count
off a small number of cards, face downwards, on to the table and to make a mental
note of the top card of the pack. He must then replace the packet counted off
and square up the cards.

Turn your back while these instructions are being carried out. Obviously,
the key card is now immediately above the chosen one.

By riffling the pack, you find the short card and also the selected one, which latter
you openly place in your pocket—without showing its face. Although you actually
leave it there, you make a feint of palming it out and of adding to to the top of
the pack. Do not overdo this, or your friend will “ smell a rat.”

Inquire the number just dealt by the helper : then openly deal that number of
cards on to the table. Your colleague will naturally imagine that his card is now
on top of the pack. Make a feint of palming off the top card and then pause and
say :—“ Perhaps it would be more effective if you were to remove your card from
my pocket yourself.”

This method was shown to me some years ago by Mr. Billy O’Connor, the
famous “ ' Short-card ' Card King,” and it has been recently described by Mr.
Wilf. Higgins in The Magic Wand.” The O’Connor mode of presentation is,
however, entirely different to the one explained in the “ Wand.”

It is not necessary to use a “ short ” ; a long card or any suitable key would
serve equally well. Or the top card could be “ crimped ” or its edge roughened
by the thumbnail. It would also suffice to note the name of the top card and to
find it by riffling.

PURE BLUFF

Like the preceding effect—For Conjurers Only ”—this trick will prove more
puzzling to magicians than to laymen. Still another method is employed.

EFFECT

1. A spectator—Mr. A.—selects a card and places it in his side coat
pocket. He is instructed to keep his hand on it all the time.

2. A second helper—Mr. B.—glances at a card near the top of the pack
(about the fifth or sixth down) and remembers its name and position.

94 FARELLI'S CARD MAGIC

3. Taking the pack, the conjurer removes a card and, without looking
at its face, places it in his pocket. He also keeps his hand on his card.

4. The pack is returned to Mr. B., who proceeds to deal, face downwards,
until he reaches the number at which his card stands. He is requested
to place his hand on the pile just dealt and on top of which his card
lies.

5. Mr. A. and the magician remove their cards from their pockets.
Glancing at his own card, the operator apparently makes a mental
calculation and tells the name of Mr. A.’s card.

6. Mr. B. is asked to name his card—the one on top of the packet—but
when he turns this card over it is found to be an indifferent one. With­
out any manipulation or false move, the wizard displays the card that
he is holding. It is Mr. B.’s card.

WORKING

1. Mr. A.’s card is forced.
2. Mr. B. notes the position of a card near the top of the pack.
3. The performer takes the pack and removes about ten cards from the

top. Holding them as one, he places them in his pocket.
4. As Mr. B. deals, the conjurer, still keeping his hand in his pocket,

counts down to the required card.
5. The magician removes Mr. B.’s card from his pocket and tells the name

of the card previously forced, namely, Mr. A.’s card.
6. Mr. B. turns over the card on top of the pile, i.e., an indifferent card.

The operator shows that he is holding Mr. B.’s card.
This method was first demonstrated to me by Mr. O’Connor and it has been
mentioned by Mr. Will Golding in the December (1928) number of The Zodiac.
In these performers’ versions only one card was discovered—the one whose
position was noted in the pack. The obvious defect of this plan was that there
was no valid reason or excuse for the performer keeping his hand in his pocket
while counting down to the required card. The above mode of presentation is
my own and provides, I think, a fairly plausible pretext.

WITH AN UNPREPARED POCKET-BOOK

Many attempts have been made to perform the Card to Wallet effect, using an
unprepared pocket-book. I have notes of over a dozen methods, but I think that
the best, or at any rate, the most amusing of them all is a variation of Mr. Harry
Venson’s “ Joker to the Pocket.” It is also a “ Sucker Gag,” but appeals to the
layman as well as to the adept.

PREPARATION

In an unprepared pocket-book, the Joker belonging to the pack is placed
preferably under the celluloid facing of the division used for holding season-
tickets. A rubber band having been snapped round the wallet, it is placed in the
inside breast pocket on the left side.

A duplicate Joker, cut “ short,” must be in the pack.

WORKING

Having performed the “ Choose a Number ” card trick (see “ Subtlety versus
Manipulation,” Chapter X), the magician explains that the “ real ” secret lies in
the fact that every card in the pack corresponds to its value : for instance, if an
Ace be chosen it will be the first card ; a Ten will be the tenth card ; a Knave
the eleventh card, and so on.

He then forces the short Joker, taking care than only the selector sees its face.
This card is then replaced in the pack and thoroughly shuffled therein by the
helper.

Taking back the pack, the conjurer riffle shuffles the cards and secretly brings
the Joker to the bottom. He immediately starts to deal the cards, instructing the
chooser to call “ Stop ” as soon as the number corresponding to the selected card
is reached.

FARELLI'S CARD MAGIC 95

In all probability the assistant will let the wizard start counting, although he
knows full well that the Joker has no corresponding value. When the number
tuhnirdteeresntanisd.reSatcohpedmtehewhoepnera1tocrormeme atroksth:—e “nuImabmerafwrahiidchthiantdiycoautesdoyonuort quite
Ace: one. Duce : two. King : thirteen. It is quite simple ! ” card.

The performer again deals thirteen cards. Then, with the right hand he palms
the Joker from the bottom of the pack and, in apparent disgust, he throws the
remainder of the pack on to the table, inquiring :—“ Why on earth do you not
stop me ? ” There will be a big laugh, against the magician, when the helper
replies :•—“ because my card was the joker ! ”

However the tables are turned when the conjurer quietly observes :—
“ Impossible ! There is no Joker in the pack,” I always carry that card in my
pocket-book for luck ! ”

With the right hand, the performer removes his wallet from his pocket and give
it to the helper, telling him to remove the rubber band and see for himself. Need­
less to add, the “ short ” Joker is left in the coat pocket, consequently, should any
curious person examine the pack, he will not find any duplicates there.

MORCHEAPTTERRXIIICKS

IN this, the final chapter, I have aimed at quality rather than quantity. Every
item is thoroughly practical, and, when properly presented, convincing.

THE “ DO-IT-YOURSELF ” DISCOVERY

This clever move, based on the Charlier pass, was shown to me in Paris by Mr.
John Mulholland, only a few weeks ago.

EFFECT

Anyone freely selects a card from his own pack and returns it thereto. The
same individual then chooses a second card which is placed face upwards on top of
the pack. Holding the cards behind his back, he removes the face-up card and
places it in the approximate centre. When the pack is fanned out, the two selected
cards are found to be together.

WORKING

The assistant having taken a card, request him to replace it in the pack which
you fan for this purpose. Square up the cards and insert the little finger of the
left hand above the selected one.

Again fan the pack and request the helper to remove a card. When he ha s
made his choice, quietly cut the pack at the break, bringing the card first selected
to the top. Take the second card from him and place it, face upwards, on top of
the pack. Unknown to him, the two selected cards are already together.

Remarking :—“ I want you to hold the pack behind your back,” hand him the
cards, making the Charlier Pass as soon as the pack is out of his sight.

No further explanation should be necessary . . .

The above routine, from which I have eliminated all difficult moves, is my own.
Obviously it does not matter how indifferently the pass be made as the pack is out
of the spectator’s view when the secret manoeuvre takes place. Of course, it should

THE VENERIbe noiseless. “TURN”

The actual method itself is an old standby, but I never saw it used just in this
way by any other performer than Vener

96 FARELLI’S CARD MAGIC
EFFECT

A card having been freely selected and duly returned to the pack, the magician
requests someone to suggest a small number. Let us assume that ten is chosen.

Without a false movement or any manipulation, the conjurer deals the required
number of cards face downwards on to the palm of his own left hand. He then
asks :—“ What was your card ? The Ace of Clubs, you say : There ! ” As he
pronounces the last word of the sentence he “ slams ” the packet he is holding in
his left hand on to the top of the pack, displaying the chosen card.

WORKING

The selected card is brought to the top of the back by, to use a hackneyed
phrase, the performer’s favourite method. We assumed that ten was the number
agreed upon, therefore, the magician deals that number of cards face downwards
on to his left hand. The result of this is that the selected card is at the bottom of
the packet.

To bring the effect to a conclusion all that need be done is to reverse the packet
and “ slap ” it on to the top of the pack, showing the face of the chosen card.
Fig. 76.

Notes.—
1 have read over these instructions and I am afraid that I have not

succeeded in bringing out the main points of presentation of the effect
which always created much astonishment in the originator’s hands.

It should be mentioned that Veneri was an Italian and that he presented
his “ experiments ” with all the dash and brio of the Southern European.

As he pronounced the word “ There ! ” he would “ bang ” the small
packet on top of the pack. Then, very quietly, he would reverse the
small packet of cards—all of which were naturally face up—and replace
them on top of the pack. If anyone cared to examine the pack he would
find that the chosen card was actually at the required number from the
top.

I should add that the magician should stand well away from the table,
otherwise the natural thing to do would be to deal the cards thereon and
not on to the left hand.

As it is essential that only the face of the chosen card (and no portion
of the face of any other card) be seen as the small packet lies face upwards
on top of the pack, the greatest care must be taken to square up, neatly
and rapidly, the cards dealt into the left hand.

I have explained this Veneri “ move ” at some length as I consider it
one of the best things in this book.

FOUR FROM FIVE LEAVES ONE
There are certain “ points ” in the working of this effect which will appeal to
the lover of subtle card problems and which make it, in its new form, extremely
convincing.

FARELLI’S CARD MAGIC 97

EFFECT

Borrowing a pack of cards, the magician removes an Ace, a Two, a Three, a
Four and a Five of any suit, or suits, and lays them, in numerical order, face
upwards on the table. The operator then turns his back, while a spectator, after
shuffling the pack, deals a card face downwards on each of the cards of the row.
The helper then glances at one of the face-down cards and remembers its name.
Turning round, the conjurer gathers up the five cards, dealt by the assistant, and
places them in his own pocket. He then removes four of the cards and shows that
none of them is the one selected. These cards are arranged, by the selector, on top
of the face up cards, allowing for the “ gap ” caused by the one still in the artist’s
pocket. Without asking any questions, the wizard produces this card and shows
that it is the one chosen.

A borrowed pack, which the conjurer has never seen before, is used and the name
of the selected card is not asked as in the standard version.

WORKING

Having placed the five cards face upwards in a row, instruct a spectator to deal
a card face downwards on each of the five and slightly overlapping them. Illustrate
what is meant by dealing five yourself ; then gather them up, replace them on top
of the pack and take the opportunity thus afforded of palming four of them.

Request the helper to shuffle the pack and immediately turn your back. Make
a “ right turn ” : should you turn to the left there would be some danger of the
palmed cards being exposed. Slip the palmed cards into the inside breast coat
pocket on the left side and instruct the “ sitter ” to touch any one of the five
face-up cards. This is important for it is essential that he remembers the number
of the card in the row without being told to do so. Then remark :—“ Please
glance at the card which lies on top of the number you have selected. Be sure to
remember its name. Now replace it.”

Turning round, gather up the five cards, taking care not to change their order,
and place them in your pocket beside those already there.

Observe :—“ I am now going to remove four of the cards, one by one, and I shall
endeavour to avoid taking the one of which you are thinking.”

Remove the four extra cards and place them in a packet face upwards on the
table. Hand this pile, face downwards, to the helper and tell him to re-arrange
the cards on top of the other five, allowing for the one missing. Thus, without
asking a direct question, you obtain the information required.

Should the card happen to be number one or number five, you will be able to
locate it very rapidly. The slightest hesitation in removing the selected card

would be absolutely fatal, therefore, should one of the other three be the chosen
number, it will be necessary to “ stall,” if I may use an American term. Remark :—

“ Before removing your card I shall try to read its name with my fingers . ..
No, your cards are of exceptionally good quality : I cannot feel the pips ! Never
mind, I shall place it on top of the card where it was before . . . Now turn
it over.”

As you have still four cards in your pocket you may repeat the effect, but it should
be unnecessary to point out that the five indifferent cards—now on top of the face­
up ones—cannot be used and that the pack must be re-shuffled.

In order to get rid of the four extra cards a simple way is to present the “ Card
Discovered by Touch.” A chosen card is brought to the top of the pack and the
latter placed in the conjurer’s pocket. The selected card is produced at any
number decided upon by the audience. See “ Modern Magic.”

Another way of disposing of the four extra cards is the following. Repeat the
effect, but instead of at once placing the five cards in the pocket, add them to the
pack and submit the latter to a series of false cuts, or to a convincing false shuffle,
leaving the “ stock ” in the original order on top of the pack. Then put the pack
in your pocket and proceed as before.

In tricks of this nature many performers conceal the extra cards in the space
at the top of the trousers pocket and are thus enabled, by making an elegant display
of the lining thereof, to prove that no duplicates are used. To say the least of it,
such a proceeding is “ common ” and although it may be admissible in a four-ale
bar, or perhaps even at a second rate smoking concert, it is most unsuitable for a

98 FARELLI'S CARD MAGIC

gathering of cultured men and women. Apart from that, it seems to me that when
the effect is presented properly, no member of an average audience would dream of
the existence of duplicates and that to show the inside of the pocket is going out
of one’s way to arouse suspicion. Be that as it may, an inside pocket is easily
faked. All one has to do is to stitch a p'ece of lining along the top, which, when
pulled out, looks exactly like the material of the pocket itself.

Caution.—There appears to be only one way—apart from a mistake made by
the performer himself—in which this experiment can miscarry and that is when the
helper, either through carelessness or with malice aforethought, arranges the
four cards incorrectly.

Mr. S. H. Sharpe, in that wonderful work, Neo Magic, points out :—

“ . . . In almost every effect a mischance is possible, though it may
be highly improbable. The aim of a conscientious conjurer should be to
search out these weak points in every experiment and, having guarded
against them to the best of his ability, arrange what procedure to take should
things become to the contrary.

“ Robert Houdini once said that he would judge a conjurer’s ability
by the skill displayed in getting out of an awkward situation into which
a hitch had placed him. But I for one doubt whether he referred to the
impromptu display of resourcefulness desirable on such occasions so much
as to the pre-arranged procedure with which he was able to meet the con­
tingency owing to his foresight . . .”

Whether such was Robert-Houdini’s meaning, or not, is immaterial : the
advice is undoubtedly sound, although I fear it would be impossible to foresee
every conceivable accident. I think that it was David Devant who once said
that a conjurer does not know a trick thoroughly until everything that can go wrong
with it has done so.

To return to the little effect under consideration, I would suggest the following
“get-away.” Let the magician remark :—“Not your card ! And you say it
is not one of the other four? You see that I have made your card disappear /

I shall now find it. The pack should then be placed in the pocket beside the four
cards still there . . . one of which is, of course, the chosen card. The
conjurer should then remove six or seven cards from his pocket, namely, a few
indifferent ones and one of the “stock,” inquiring :—“Is your card there?”

and continue in this way until he receives a reply in the affirmative. He could
then palm the selected card and produce it from his elbow ... or from the
spectator’s pocket ... I know full well that this is by no means a brilliant
climax, but it is better than an absolute failure.

A final word. When the wizard places the fifth card (namely, the one which

he has every reason to believe is the chosen one) in the “ gap ” he should get it
turned over without asking the selector to name it. It should be unnecessary

to give the reason for this precaution !

THE " SLICK ” ACE

This form of “ key ” card—first made public by Max Holden in the March
(1924) issue of The Sphinx—is a gambler’s artifice.

The face of any card is coated with a special substance (obtainable from magical
dealers at five shillings a jar) and becomes extremely slippery.

In order to locate the faked card, hold the pack face downwards in the left
hand, the thumb across the top. Squeezing the cards tightly between the fingers
and thumb of this hand, move the thumb sharply to the right. This will cause
the pack to “ break ” at the glazed card. Pressure must be applied with the
first joint of the thumb—not with the tips alone as in dealing—and the pack must
lie flat in the hand.

The only advantage that this principle possesses, over other types of key cards
is that the pack may be examined for any length of time without danger of discovery.
Unfortunately there are at least two disadvantages : for instance, the prepared
card must be polished with a handkerchief shortly before using and strong mis­
direction is necessary to prevent the “ breaking ” of the pack being detected.

This subject hardly comes within the scope of the present work, but any reader
who may be interested will find about ten methods of employing the “ slick key ”
in Drummond’s manuscript, Climax Card Routine.

FARELLI'S CARD MAGIC 99

The following close work effect may be performed with any kind of suitable
“ locator.”

EFFECT

A borrowed cigarette paper is rolled into a pellet and placed on the table. The
pack having been divided into four or five packets, the top card of any pile is
noted by the audience and replaced. The pack is reassembled by the conjurer and
cut several times by a spectator. The helper places the pellet on top of the pack
(which lies on the performer’s palm), then opens the paper and finds the following
“ spirit message ” written thereon in blood red characters : “ Look at the top
card ! ” This card is the selected one.

WORKING

While rolling up the paper it is switched by the operator for one of his own.
The “ locator ” is at the bottom of the pack. When gathering up the packets,
the wizard takes care that the key is placed on top of the chosen card. The pack
having been cut a few times by the assistant, the magician instructs him to hold
the pellet in his hand to warm it. When the general attention is attracted to the
helper, the performer carelessly cuts the pack at the key—or else makes the pass—
thereby bringing the selected card to the top.

It is more effective to bring the chosen card to a certain number, say seven,
from the top of the pack, but of course greater skill is required.

A STUDY IN BLUE AND WHITE

Many attempts have been made to improve the standard Pocket to Pocket
trick but, to my mind, many of the alleged improvements are merely needless
complications that only tend to confuse the audience without increasing the effect
to any great extent. This reproach cannot be made regarding the version about
to be described as everything is as clear as daylight.

ROUGH OUTLINE OF EFFECT

This is similar in many ways to Mr. David Devant’s version of the standard
trick except that the cards are placed in an envelope and that two packs, having
different coloured backs, are used. See “ Lessons in Conjuring.”

Thirty cards with blue backs having been sealed in an unprepared envelope by a
spectator, the performer causes five cards with white backs to appear therein.

Requirements and Position of Articles

a. A pack of ordinary cards with, say, dark blue backs and the usual
white margins. Let us assume that a number of other effects have
just been performed with this pack.

b. A pack of cards with plain white backs. In maker’s case on the table.
c. A packet of envelopes of suitable size. On the table.
d. A pencil, red or blue. In the left inside breast coat pocket.

PRELIMINARY PREPARATIONS

Before the entertainment starts, remove any five cards from the white pack and
lay them, face downwards, on a table. On the top of these place five cards from
the blue pack, also face downwards. This packet of ten cards—which we may call
the “ stock ”—must be in some position where it can be readily secured, and, at
the right moment, added to the top of the packet used for the proceeding
experiments. See under the caption, “ Obtaining a ‘ Stock ’ ” in Chapter VIII.

PLAN OF STAGE

Four volunteer assistants are required, two being seated near the footlights and
two standing at either side of a small table.

100 FARELLI'S CARD MAGIC

Footlights.

One Helper seated. One Helper seated.

Small Table.

Left Helper. Right Helper.

(These assistants hold the envelope.)

WORKING AND PRESENTATION

1. Having secretly added the “ stock ” to the top of the pack, insert the
little finger of the left hand between these ten cards and the pack
proper. Take up a position behind the small table with an assistant
standing on your right and another on your left. Turning to the man
on your left, remark :—“ I want you to be good enough to count thirty
cards, one by one, in a loud voice, on to the table. Like this, one, two,
three, four and so on up to thirty.”
Suiting the action to the words, deal four cards, face downwards, on
to the table.

The state of affairs will be as follows. On the table the four blue cards
which you have just dealt. On the pack, counting from the top, one
blue card followed by five white. The little finger of the left hand
separates these six cards from the pack. Obviously the blue card
masks the presence of the five white.

2. Continue :—“ Count the cards one by one. Do you quite under­
stand?” As you put this question, palm, with the right hand, the
six top cards of the pack and immediately seize it by means of the
“ Longitudinal Grip ” as illustrated in Fig. 48. Place the pack on top
of the four cards already on the table, remarking :—“ Be sure to count
in a loud voice so that all may hear.”

3. As soon as the assistant has counted the cards, say :—“ Please place the
pack on the table.” With the right hand draw the packet of thirty
cards on to the open palm of the left, adding the six extra cards.
On the top of the packet of thirty blue cards there are now five white
ones, but these are hidden by the extra blue card.

4. Addressing the helper on the left, observe :—“ Please remember the
name of one of these cards.” In order that the man may see a card
it is quite natural to fan the packet in front of his eyes. A little care
must be exercised. The upper cards must not be spread out to too
great an extent, otherwise the man on your right might notice the white
cards. There is absolutely no danger of this if proper care be taken,
as the visible portions of the white cards look exactly like the white
borders of the blue cards.

5. Now comes one of the principal moves. Still holding the cards spread
out in front of the assistant on the left, divide the packet at about
the centre and remove the upper half of the fan with the fingers of the
right hand. Show these cards to the helper on your right and request
him to remember a card. When he has done so, replace the two halves
of the fan together, but put the portion held in the right hand under
the packet in the left. This manoeuvre, which should be performed
calmly and deliberately, brings the five white cards to the centre of the
packet.

6. Now square up the cards and, turning slightly to the left, observe to
the helper on that side :—“ I take it you will remember your card? ”
Under cover of this remark, palm one blue card in the right hand,