29 tricks svengali
DESCRIPTION
29 tricks with Svengali DeckTRANSCRIPT
29CLEVER CARD TRICKS
w 'dtk tU c
SVENGALI DECKC o m p ile d By.
JIM SHERMAN
P R IC E 5 0
PUBLISHED BY
NATIONAL MAGIC COMPANY
119 S. STATE STREET CHICAGO
Y h e State L i b r a r y of Vi ct or ia “ A L M A C O N J U R IN G C O L L E C T IO N ”
— W ILL ALMA ____H.I.M.C. (LO ND ON )
Copyrighted 1940.
This unusual pack of cards is so cleverly made and the prin
ciple so skillfully concealed that your audience will never sus
pect any special preparation.
Don’t expose the tricks to your friends or the deck will be
worthless to you.
SECRET: Upon close examination you will note that in this
mechanical deck every other card is the same, but the deck
has been so prepared that all of the cards that are the same
are slightly shorter than the others. Each one of these similar
cards is hidden behind one of the ordinary cards and this
arrangement should always be kept in order to successfully
perform the tricks.
PRESENTATION: To present the various tricks properly,
it is necessary to follow a few simple rules.
1. Always even up the cards by tapping the end of the
deck on the table.
2. Never spread the cards out fanwise when asking some
one to choose a card.
3. The success of nearly all of the tricks depends uponrorcing upon the spectator one of the cards which are all aliKc.
To force a card, hold the deck in the left hand face down,
being careful that the cards are all squarely evened up by tap
ing on the table as mentioned above. W ith the thumb of the
right hand on the lower end of the deck and the four fingers
of the right hand at the upper end of the deck, bend the
pack slightly and release the cards slowly, allowing them to
fall into the left hand. This is called "riffling” . Invite the
spectator, as you do this, to pick out one of the cards.
He will be compelled to take one of the cards which are all
alike, for the reason that it will always be on top of the por
tion which falls into the left hand. This is due to the fact
that it is slightly shorter than the other cards, and every time
you riffle the deck only the indifferent cards can be seen by
the audience, as one of the similar cards is always hidden be
hind one of those shown.
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4. Always place selected card at the same place from
which it is taken. Then the deck will never be out of order.
5. When cutting the deck always cut from the ends—
never from the sides and do not forget to tap the deck on. the
end before doing so, as the deck will work much smoomtr.
Owing to the preparation of the cards, whenever you cut the
deck (always from the ends) it will always leave one of the
prepared cards on top.
After you have thoroughly practiced the above methods of
handling you are prepared to perform the following wonderful
tricks:
N O . 1— A PREDICT ION .
The performer undertakes the task to predict the name of a
card before it is withdrawn from the pack. (Name the force
card of the pack). Hold the pack in ordinary dealing position,
with the left hand and invite a spectator to insert his finger
into the upper part of the pack as the cards are riffled with
the index finger of the right hand. This done, the cards are
cut at this point and the spectator is allowed to remove the
top card of the bottom section. This being a force card it is
obvious it will correspond with the prediction.
N O . 2— THE X-RAY EYES.
After cutting the pack a few times to apparently lose the
chosen card the [Sick is cut in two sections. Then the per
former explains that with the aid of his "X-RA Y EYES” he
is able to select the heap containing the choice card and tell
its position from the top of the heap. After making this
statement a heap is picked and any number is mentioned.
I f the number called is odd, count down to this number, turn
up the card, showing it as the choice card. Should the number
be even, count down to this number and turn over the next
card to reveal it as the choice card.
N O . 3— STOP.
After the pack is cut a few times to apparently mix the
card, announce that you will place them one by one from the
top of the pack into your right hand; whenever the spectator
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says stop that will be the choice card.
You will note that the pack is arranged so that all the odd
cards are force cards and will correspond to the drawn card.
As you remove the cards count them and should you be stopped
at an even numbered card remove the next or odd numbered
card and show it to be the choice card. I f you are stopped
at an odd card, turn it up and reveal it as the choice card.
N O . 4— CUTTING TO THE CA RD .
A spectator is requested to name any number of times he de
sires the performer to cut the cards. Upon cutting the cards
the number of times requested the choice card will be found
on top of the pack. Because a force card appears on top of the pack after each cut, the pack may be cut the number of
times requested, the top card will always be the choice card.
N O . 5— THE TRAVELING CA RD .
Showing the choice card on top, cut the pack in half, then
cut the upper section once to bury the choice card. Now
riffle the bottom portion to show it contains indifferent cards.
Upon snapping both portions with the finger, the choice card
will leave the upper section and appear at any number down,
(mentioned by spectator) in the lower one. I t is obvious that
if the number called was odd it is only necessary to pick up
the bottom portion and to count to this number and then turn
up the card; this will be the choice card. I f the number
called was even, count to the number and turn up the next card.
After this procedure has beeen accomplished the top portion
may be riffled to convince the spectators that the choice card
has disappeared.
N O . 6— THE C A R D DETECTION.
The bottom or indifferent card is given to a spectator to in
sert it face up anywhere in the pack. Upon cutting the pack
at this chosen point, the choice card is shown to be either
above or below it, as the case may be.
When presenting this effect one must be cautious so as not
to expose the force card on the bottom after removing the
indifferent card. A t the conclusion of the effect place the
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indifferent card on the top of the pack and give it a cut for
proper arrangement.
N O . 7— O D D O R EVEN.
The performer inquires whether he is to cut an even or odd
number of cards off the deck. Upon receiving a reply th-
pack is cut and the cards arc counted for verification.
Not only will the cards cut correspond to the request but the
choicc card is shown to be either at the bottom of the scction
that has been cut off or again it may be the top card of the
bottom section, which ever the case may be.
Should the spectator request an even number to be cut, cut
the cards in the ordinary way; at any point, count the cards
removed and show the top card of the bottom section to be
the choice card. If the request is for an odd number, the
cards arc held face downwards and are riffled in the opposite
direction with the left thumb; cutting them at any point,
count the cards cut off and in this case show the bottom card
of the counted off section to be the choice card. After the
count is made for verification, the cards are replaced to keep
them arranged properly.
N O . 8— CO IN C ID EN CE .
Five or six spectators each select ft card. The cards after each
selection are replaced in their own respective positions. To
conclude the effect have the spectators name their cards at the
count of three. In writing, this effect might seem simple,
however it really must be tried in order to see to what extent
it impresses the spectators when they discover they all selected the same card.
NO. 9— TRANSPOSITION.
A t this stage of your routine the spectators will be' dazzled
at your perfection and no doubt will wonder how you can
accomplish such effects. You might explain to them that by
merely snapping any card with the fingers a change is made
in the value of the card into the choicc card. After this
statement has been made perform the following effect.
Have a spectator say stop at any time the pack is being r if
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fled. A tten tion is called to the name o f the card stopped at. The card is now riffled onto the others. A t this point the pack is cu t and the apparent card noted is pushed off w ith the le ft thum b, face down upon the table. (B u t in reality when this card was riffled onto the others a force card im mediately followed and i t is this card that is actually placed on the table.)A fte r the above procedure, the bottom section o f the pack is placed on the top so that a fte r the card on the table is snapped and then turned face upward, to show the change, i t is placed on the top o f the pack to keep the cards properly arranged.N O . 10— R E U N IO N .T u rn the choice card face up on the top o f the pack and cut approximately one th ird o f the cards off and place them on the table. C u t the remaining portion in h a lf and tu rn these portions face upward. E ither one o f the heaps w ith an in different card is selected.
The choice card is then turned face downward on its heap, and the other heap w ith the ind iffe ren t card is placed face down on the top o f the choice card. N ow attention is called to the denomination o f the card on the selected heap. The heap is then turned face down and placed on the top of the other cards. W hile doing this, a ttention is called to the fac t tha t the choice card is separated from the noted card by the other heap. N ow upon c u ttin g the pack once, the noted card is then located and the force card below i t is then shown. This impressses the spectators that the choice card has mysteriously traveled to join the noted card.N O . 11— T H E M ASTER T O U C H .A fte r cu ttin g the pack a few times, attention is called to the fac t th a t the choice card is lost somewhere in the pack. Upon making a statement in regard to your sensitive finger tips place the pack behind your back or underneath the table and bring fo rth the choice card, apparently removing i t from the center o f the pack. T o accomplish the above effect i t is on ly necessary to remove and bring fo r th the top force card. Replace this card on top and fo llow w ith the next effect.
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The pack is prepared for this effect as in the preceeding trick.
While it was held behind the back, the second card from the
bottom (a force card) is placed in the rear hip pocket. Pre
pared in this manner, and after completing the above effect,
(The Master Touch) remove the bottom card, fans the pack
with it to apparently cause the choice card to disappear. Place
this card on the top of the deck and close the effect by re
moving the card from your pocket and showing it as the
choice card.
NO. 12—CARD TO POCKET.
N O . 13— REVERSED CARD .
The choice card is shown on the top, and the pack is then
given a cut. Upon spreading the cards, the choice card will
be found to have reversed itself. As in the preceeding trick
one prepares the pack for this problem during the Master Touch
Effect. While the cards are held behind the pack as outlined
in the above mentioned effect, the third card from the top
(a force card) is reversed. Upon completing the Card to
Pockets effect, attention is called to the choice card being face
down and on the top of the pack. The pack is then cut and
the effect is brought to a climax by showing that the choice
card is now reversed.
N O . 14— THE MASTER CUT.
The choice card is shown on top and a spectator is requested
to name any number of cards to be cut and placed on top of
it. The performer cuts approximately the number of cards
from the bottom and places them on top of the choice card.
To verify that the exact amount of cards were cut, the re
quested amount is counted off the top of the pack and the
choice card is disclosed. Should the spectator request an even
number to be cut, the approximate number is then cut from
the bottom of the pack and are placed on the choice card. I f
the request is for an odd number, the cards are held face down
and riffled in the opposite direction with the left thumb, the
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thumb retaining back approximately the requested amount of
cards which arc placed on top of the choicc card.
The last procedure leaves a force card on the bottom, so the
pack must be held face downward so that the force card will
not be exposed. After the count has been made to verify the
number of cards placed oro the choice card the pack is cut to arrange it properly.
N O . 15— A SPECTATOR LOCATES THE CARD .
(You will note that this effect is very similar to effect No. 1)
The card is selected by the spectator in the same manner as
in the effect number one. Just before the selection is made
tell him that he will locate the choice card.
N O . 16— SPELLING BEE.
The cards are apparently mixed either by a riffle shuffle or by
a cut. The name of the choice card is spelled out, removing
a card from the top of the pack for each letter. Should the
amount of letters in the force card’s name be odd, upon spel
ling it out, the card at the last letter will be the choice card.
Should it have an even amount of letters the card following
the last letter is turned and revealed as the choice card.
N O . 17— C A R D O N CHOSEN HEAPS.
Cut the pack in four heaps, cutting them at their ends so that
a force card will be on top of every pile. The spectator is
then instructed to select a heap. After the selection, the
cards are reassembled with the exception of the selected heap.
Find it on top of the selected heap. Replace this heap on the
bulk of the pack and you are now ready to perform the fol
lowing effect.
N O . 18— SOLID T H R O U G H SOLID.
Choicc card is turned face up on top of the pack and then
the pack is cut. The lower half is riffled to show it contains
all indifferent cards. This half is then held underneath the
table with the left hand. The right hand turns the choice
card face down and gives upper half of the pack a cut. Upon snapping the upper section of the pack with the index finger
of the right hand, the lower section is brought forth, becausc
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the top card of this section will always be a forced card. To
climax the effect, it is only necessary to turn card face up to
convince the spectators that the choice card has penetrated
through the table. After this procedure the top section should
be riffled to show that the choice card is missing. When the
riffling is complete replace the upper section on the lower
section of the pack and proceed with the routine.
N O . 19— THE PERSISTANT CARD .
Cut the pack a few times and snap the pack with the index
finger, then turn the top card over and show that it is the choice card. Cut the pack again* snap the top card, turn it
face up to again reveal its appearance on the top of the pack.
The above procedure may be repeated as often as desired.
NO. 20—THE MENTAL DETECTION.Riffle the cards slowly before a spectator’s eyes, telling him
to mentally select a card. After this procedure put the pack
behind your back at the same time explaining that you will
place the choice card next to the mentally selected one. After
apparently arranging them bring the pack forth and have the
thought of card named. Riffle the pack slowly to locate this
card, cut the pack at this point, and reveal the force card on
top of the bottom section as the choice card. Replace the
upper section and proceed with the following effect.
NO. 21—COUNTING TO THE CHOSEN CARD.Riffle, shuffle or cut the cards a few times to apparently mix
them. Ask spectator to name any number from one to fifty-
two. I f an odd number is called count to it and reveal it as
the choice card, however, if an even number is asked count
to this number and turn up the next card.
N O . 22— A PECULIAR CHAN GE.
As the pack is riffled the performer asks to be stopped at any
point. Place the bottom section on the top group. This brings
a force to the top of the pack. Remove this card without re-
10
vealing it and place it face down on the table. The pack is
riffled again and a card is selected by another spectator (it is
obvious that this will be the force card). After this pro
cedure the spectator is asked to name the noted card. Upon
receiving a reply snap the pack with the index finger and
then slowly riffle it to show that the card has disappeared. The
card on the table is turned face up and is revealed to be the
choice card. Replace the card on top of the pack, cut the
pack a few times and follow with the next effect.
N O . 23— THE MASTER TOU CH .
After the pack is cut a few times to apparently lose the choice
card, it is riffled and the performer is stopped at any time
during the operation. The pack is then cut at the designated
point and attention is called to the number of pips on the
bottom card of the upper section. (Jack evaluates at eleven;
Queen, twelve and the King, thirteen). I f the number of pips
happen to be odd, count down to this number in the bottom
section and turn up the card at this number, showing it as the
choice card. Should the spots on the card be even, count
down to this number and turn over the next card to reveal
it as the choice card. Replace the upper section and follow
through with the next effect.
NO. 24— THE MIRACLE.The pack is cut a few times and the cards are then dealt in
two heaps one at the time. This brings the 26 short force
cards in one pile and the 26 indifferent cards in another pile.
Have the spectator select a pile. Should he select the ind if
ferent pile, have him search for the choice card. Upon receiving the acknowledgement that the choice card is not w ith
in the heap, spread the short or force cards face down on the
table and have him pick one. To his surprise the choice card
is picked. Should he point to the pile containing the force
cards spread them over the table and hand him the pile con
taining the indifferent cards and follow out the above procedure.
N O 2J— THE STABBING TRICK.
1. Run the cards over and have someone pull a card out.
He will always select the same card.
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2. '5/r.,) the deck in a ’-'ce o f paper. Have a knife inserted
in the deck by the spectator. The selected card ■will always
be either directly above or below the blade.
3. Cut the deck into three piles (remember to cut' from the
ends of the deck.) The chosen card will always be on top of
any pile named.
4. Ask any spectator to call out a number, telling him the
card he took from the deck will be any number he says. I f
he asks for an odd number the card is already there. I f an
even number is given, show him the next card.
N O . 26— THE MISTAKE.
1. L ift the top card and show1 it. (You actually pick up two
cards.) Replace it on the deck, slide off the trick card face
down, and ask someone to place his hand over the card. You
now have him select a card from the deck and replace it.
You can now apparently cause it to leave the deck and change
places with the card covered by his hand.
2. Reverse the top card and cut the deck. Have a carc
1.1 ken and replaced in the deck. Then command the card t J
.urn around in the deck.
N O . 27— THE R IS ING CARD .
I. Place a tooth pick at the bottom of the deck and push
upward. The chosen card will always rise.
N O . 28— C A R D FROM POCKET.
Place the deck in your friend’s pocket, face the deck towards
his body. Ask him to remove one card quickly. He will
always pull out the selected card.
N O . 29— THE BURNED CARD .
A card is selected and burned. You can make the card re
appear whenever you wish.
PRICE PER DECK, Postpaid, $1.00.
N A T IO N A L M A G IC C O M P A N Y
119 S. STATE STREET
C H IC A G O 3, IL L IN O IS f C v
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