Next, we present to you a collection of magic tricks:

Next, we present to you a collection of magic tricks:

PHONE DIRECTORY TRICK

In this trick, the name and phone number of a person in the phone directory are guessed.
ask a person to roll two dice on a table to obtain some points. After that, those points
they will correspond to a name in the phone book that the artist guessed.
Realization:
The artist hands a person a phone book and two dice, and tells them that they are going to guess something but doesn't
He/She says that it is.

A blindfold is placed over the eyes and one turns their back to the audience so as not to see anything, then they ask the...
a person who rolls the dice on the table as many times as they want in order to choose a value. The
the artist tells the person to sum the total of the dice (from the two opposite faces, the top and the bottom) and
Do not say how much it is. Next, you are asked if you want to keep that number or if you want to multiply it.
for five or for ten.
Then the artist asks that person to count in the phone book as many pages as the number that
he has memorized. That page will be the chosen one. Then he is asked to count a number of lines on the page.
equal to the first number chosen (before multiplying by five or ten).
When you reach that line, you must write down the name and number that appear there.
Finally, the artist will take an envelope out of their pocket with a paper on which a name and a number will be written.
of the phone that will correspond to the name and number that the person from the public has.
Necessary Material
Two dice
A telephone directory
Three envelopes
Three papers
Explanation
The total sum of the two opposite faces of a die always results in the same value, seven.
If we multiply by ten, the result would be 140. So we will count 140 pages in the guide.
When we count 14 lines on that page (first value of the dice), we will find the name and number of
phone number that you wish to know.
The result of the trick should not be revealed at that moment so as not to spoil the fantasy and beauty of the
trick. The artist must act naturally so as not to raise suspicion.
It should also anticipate cases where the person wishes to multiply the value by five or maintain the value.
initial. For those cases, you should have 3 envelopes ready in your pocket, picking only the one that corresponds to
certain value. Multiplication is just a way to divert attention and to increase and revalue the
value of the trick.

TWIN FLAMES by Al Baker

This game creates a great effect and can be performed with any deck of cards. To begin, ask a
spectator shuffle the cards. When they return them to you, take a look at the bottom card, and with a shuffle
in your hands, take it to the upper position and also pay attention to the card that is now at the bottom. Proceed
to a lady and announce that you are going to write an exact prediction of what she is going to do. Write on a sheet
of paper: "The knight is going to choose him... from..." (write down the name of the top card of the deck). Fold the
prediction and place it on the table, under a glass or another object. Hand the deck to the lady and ask her to
Think of a number and, when you turn around, start taking cards from the top of the deck and the
stack them on top of each other on the table until reaching the chosen number; then, you will flip the card
the superior of the little pile on the table will look at it and remember it, and then place the deck over it and, finally,
cut and complete the cut to completely lose the chosen card. Turn around while the spectator
does all that.
When you are finished, turn towards her and take the deck. Now go to a knight and, under the pretense
looking for a suitable letter for him, keep passing the letters and when you reach the one that was before in the
lower position, short and remember the card that is now in the upper position. Write on another paper: “The
The lady is going to choose him... from...” (Note the name of this upper card that you just noticed). Fold the
Take the sheet and place it next to the first one. Ask the spectator to whisper the number that was.
thoughtful. Give this one the deck and ask him to deal cards face down until he reaches that number and to pay attention
in the last letter. Once this is done, gather the letters and mix them while summarizing everything.
what you have done so far to enhance the final effect. Hand over the sheets of paper in reverse order
to whom you wrote them. Ask to name the two chosen letters and then open the pages and read them for
to prove that they match precisely with your prediction.

THE MAGIC BLOW

Here we have a good example of how presentation can transform a simple trick into a great effect.
It is the trick where a card is sent to the position designated by a number chosen by a spectator and
The first time the cards are counted, the desired card does not appear, but the second time everything goes well.
The method is very simple. At the beginning, the chosen card is at the top position, so that when
count the first time and place the pile of counted cards on the deck, it automatically remains in the
desired position, where we will find it when counting again. In the old presentation, it was placed back.
a pile on the deck under the pretext of having counted wrong, a rather weak method.
Have a spectator freely choose a card, look at it and remember it, and return it to the deck. Take it to the
top position and mix several times keeping the chosen card in its place. Then ask the
audience member: "Do you have magical powers? We're going to find out right away. If you do, you'll be able to send your letter to "
any place with a soft breeze. Say a number. The nine? Good, blow on the deck while continuing to think
intensely at number nine.” The spectator blows. Make a face saying: “It doesn’t seem like much of a blow.
Magic, but let's see if it has worked. Take the deck and start counting cards up to nine.
The spectator counts up to nine and does not find their card. They take the deck and place the counted cards on top of it.
and make a false mix, recover the wrong card from the spectator's hands and place it among the eight.
letters from above "I knew you would fail -he comments- because instead of thinking while you were blowing, you were
blowing while you thought, which has nothing to do with it. I will show you what a real blow is.
magical... See? A gentle breeze, but it has managed to send your letter to the desired number. What was it? The
nine?" Give eight cards, ask the spectator to name their chosen card, and show the ninth.
The comment about the audience's blow will be more or less delicate depending on the type of audience.

THE INVERSE FIGURE by Jordan

EFFECT—Four cards are placed face up in a row. While the magician is turned around, a spectator flips
180º one of the cards. The magician guesses which one it is.
REALIZATION.—The game is based on the ancient trick that was done with cards that had a white border.
a little wider at one end than at the other. To do this according to this version, take the K, the Q, and the J from
spades from a Bicycle deck*. Notice the small white spades that are drawn on the body of the
Figures. The J has five small pips that point up or down depending on how the card is placed in one
or another direction. The Q has seven pikes directed to the right or left and the K has at its center a
gemstone shaded only on one side.
Extend the cards, paying attention to the direction of those small details, and invite a spectator to place
another figure next to them. Turn your back so that the viewer can turn one of the cards.
If one of the spade figures is turned, you will know by the change in the position of the drawing.
If you see that the three spade cards are as they were at the beginning, you will know that the spectator has turned over the fourth card.
Unfortunately, modern Bicycle decks do not have these distinctive marks, but you always have the
possibility of making your own marks on the cards.

THE SLY WILDCARD by Gibson

In a standard deck, the joker is placed face up among the other cards. A spectator is asked to
mix, have him take one of the cards that are face down and place it in his inner pocket with the back facing out
outwards. You are then asked to hand the deck to a second spectator, who will repeat the same
operation and then two more spectators do the same. This leaves us with four randomly selected cards and neither
at least the spectators who keep them in their pockets know what they are. The magician takes the deck, looks for the
wild card and, touching the pockets with it, is naming the cards that are in them.
Method 1.- To do it, take the deck face down, spread it out to find the joker that is face up.
Lift the wild card and the card on top of it as if they were one, hold them with the face forward and,
As you approach the first spectator, take a look at the index of the card behind. Touch his pocket with the
wild card and, slowly, pronounce the number of the card you just saw, then, 'to guess the suit'
insert the wild card into the pocket, drop the card behind and take in its place the card from the pocket with
be careful that it remains perfectly squared with the wild card before taking your hand out. The spectator extracts the
letter that he has in his pocket and shows it.
Take a look at the index of the letter that is now behind the wildcard and repeat the same operation with the
other spectators, always naming the suit or color of the card before introducing the wild card into the
pocket every time.
Method 2.- With this system, the cumbersome change of cards in the pocket is avoided. At first, when you take the
deck to search for the joker, keep passing cards until you find it, turn it over and act as if it
you will take it out and place it on the table face down when, in reality, what you do is take the card from the side, one
any card. Cut the deck, thus bringing the joker to the top position, and hold it in the
left hand. Take the card from the table, give it a look and put it in the pocket of the first spectator.
Name it and take the letter, which was there initially. Repeat exactly the same with the others.
viewers. In the end, while the cards are being checked, you have a good opportunity to leave under the deck the
card that you have left and place the wild card face up on the table.
Method 3.- It is a version of "The Gossip Queen." Hand a random deck to a spectator that
it contains a wild card and ask it to shuffle. When taking the deck again, while searching for the wild card, memorize
memorize the second, third, and fourth cards starting from the bottom. Ask the spectator to cut.
approximately half of the deck. Place the two packs on the table and now tell him to cover them.
with the hands. Ask him to raise one hand. If he discovers the lower package, give it to him while leaving the other one to a
side and said: "So you prefer this package. Great......" If, on the contrary, you discover the other package, no
You have more than just take it away and let him keep the one he has under his hand. Ask him, with any pretext, to ...
count the cards you have in your deck. When you finish, whatever the number, comment: 'In that case, I think
"that everything will be fine". It instructs the spectator to take the top card and place it in the middle of the deck.
that he does the same with the lower one and takes the new upper card now and keeps it in his pocket without
Look at it. Now make two more spectators keep the next two cards, also without looking at what they are.
These three letters are the ones you learned before, so it won't be difficult for you to name them.
naturally after having the wildcard examine them in each pocket and relay the information to you.
Method 4.- In this case, four cards are freely chosen and placed into the pockets of four
spectators without looking at them, like in the first method, but now, when looking at the deck, you must pay attention to the card
inferior and only take the wildcard. Let's assume that the bottom card is the seven of spades. Move ahead to the
first spectator, touches his pocket with the joker and slowly pronounces the number and color of the card
inferior, in this case, a black seven. Make it known that, to guess the suit, the wild card must be in contact
with the card. Put the wild card in your pocket, let it drop and take the card you find there instead. Already
You can announce the suit (spades) and draw the card while keeping it face down. Ask the spectator to hold it.
card in this position until you return and head towards the second viewer. Along the way, tilt a little
the letter you have in your hand to take a look at the outer index. Repeat this operation, naming
the card you have in your hand and switching it with the one from your pocket. Do the same with the two spectators.
remaining. You have to memorize the four cards in order.
To finish, place the supposed wild card face down on the table (which, in reality, is the card that was in
the pocket of the fourth spectator), asks the first spectator to place their card, without looking at it, on it and leaves
drop the deck over the two cards. Take the deck with the left hand by the sides while saying: 'The
"The only letter I have doubts about is yours." Lean in as if to listen to what the cards are telling you and
announces: "Well, I wasn't mistaken. Your card is the seven of spades." Pushes back the bottom card with the
left ring finger, and with the right hand, pull out the next card, the joker, and place it on the
face up, then remove the seven of spades. Take the joker and touch the pockets of
the remaining spectators, names again the three cards, which are taken out of the pockets and checked.

THE TRIO by Elliott

Hand a deck of cards to a spectator for them to shuffle. When they return it to you, under the pretext of looking for the
wildcard to remove it, memorize the second, third, and fourth cards starting from the top.
Mix on the table by riffle shuffle without changing the position of the top four cards. Ask the spectator to
cut, making two packages. Announce that you are going to choose one of the packages and invite him to point to one.
point to the bottom card of the deck, set it aside; if they point to the top one, ask them to hold it. At any
In this case, the spectator must keep the upper package.
Tell him to take the top card from his pack, insert it in the middle, and do the same with the card.
lower; then he/she must take the top card and leave it on the table face down. Ask him/her to hand over both.
letters addressed to each viewer. Now proceed to guess the letters through a reading of
thinking, interpretation of the pulse or any other method.

THE CARDS OF FATE

To play this game, you need to know a very simple pass: it is to show the faces of the cards.
holding one hidden. The card you do not wish to show will be in the top position. Hold the deck with the
faces towards the audience and start passing the cards one by one from the left hand to the right. When you have
about two thirds, separate the hands for a moment and spread the cards that are left in the left hand
to show the indices, simultaneously pushing the last card (the one you want to hide) to the right,
so that you are left behind the others. Join your hands and, at the same time, take the next card.
from the left hand pack, take the last card from behind with the fingers of your right hand, to
then finish showing the cards.
Ask a spectator to shuffle the deck and, when they return it to you, place it back on top with a
mix in your hands. Let's say it's the ten of spades. Cut the cards taking the ten to the middle and
keep the tip of your pinky finger on it. Write on a piece of paper: 'ten of spades' and place it face down on the
table without anyone seeing it. Ask a spectator to point to a card and arrange it so that you have the 10 of spades.
in the correct position at the moment you extend your finger. Take the card and place it face down on the table.
Ask him to name any card (for example, the two of diamonds). Give him a piece of paper to write it down.
name of that letter and then place the paper on the table. While doing so, search for the two of
diamonds and take it to the top position. Keep passing the cards from one hand to the other and show (with the pass.
explained above) that the two of diamonds is not among them. Turn to a second viewer and
Force the two of diamonds just like you did before with the ten of spades. Ask them to name and write a letter.
(for example, the ace of hearts). Leave the two of diamonds on the table and, while writing, look for the ace, take it
to the top position and shows that it is not in the deck (again with the same pass). Force the ace of
hearts to another spectator and place it on the table in front of the first sheet of paper that you wrote on, like
If it were the ten of spades. Hand over the deck so that they can examine it and see that the three named cards are missing.
Gather the three letters, mix them, and finally, compare them with the names written on the three sheets of
paper.

THE PUSH by Farelli

A spectator shuffles a deck of cards and hands it back to you. They push about half of it back.
the deck with the tip of a pencil. Ask a spectator to take the top card from the deck of
down and remember it. When placing the top edge package to put it over the other and square it, pay attention to its
bottom card; this way you can find out the spectator's card by quickly passing the cards in front of you:
The chosen card will be the one that is directly below the one you just saw. Make the guess in the following way
more surprising than you know. You can greatly enhance the effect if you let the viewer mix in
the hands, which does not pose a great danger of the two cards separating.

THE DETECTIVE LETTERS by Gravatt

Take a discreet look at the top two cards of a deck that has been previously shuffled.
mixed. Mix by shuffling without changing these two cards' positions. Leave the deck on the table and ask for a
spectator who cuts approximately in half and touches one of the packets. Whatever their choice,
Interpret it in a way that he keeps the package with the two top cards you know. Tell him to repeat everything.
whatever you are doing. Take the bottom card and insert it into the middle of your pack. Keep the card.
superior in the right pocket. He does the same. Place the lower card in the middle and the upper one in the pocket.
left. Lastly, introduce the top and bottom cards in the middle.
You may find it strange -he explains- But thanks to a strange communication between the letters, the letter in my pocket
Right will tell me what is the card in your right pocket, and the one in my left pocket will tell me which one is in yours.
Take the card out of your right pocket, show it, and through any logical or invented reasoning, deduce.
the card from the right pocket of the spectator; next, do the same with the other two cards. The cards of
up and down that are placed in the center of the deck are simply a trick to confuse and
distracting the viewer.
The letter in the wallet

This method has several advantages: the deck is not prepared in advance and the hand that is taken out
the pocket is empty.
You need a wallet that opens lengthwise. Put a thick rubber band around one of the sides. Open it from
so that the two flaps touch behind and hang it on the edge of the inner pocket of the jacket with
the part with the rubber towards the inside of the pocket.
Shuffle a deck of cards and ask a spectator to freely choose a card, sign it, and return it to the
deck. Pass it to the top place (see Chapter 'Indispensable Moves'). Bring both hands with the deck to the
back; take the signed card with your left hand, introduce it under the jacket and fit it into the
right armpit, holding it there with the arm tight against the body. Brings the hands forward and takes out a
any letter asking: "Is this your letter?" The answer will be "No."
Place the deck on the table showing that your hands are empty. Hold the right edge of the
jacket with the right hand and, with the left, take the letter from the armpit, let it fall into the wallet, close
this and take it out with the part that has the rubber facing forward. Insert the fingers of the right hand, through
under the rubber and pull it as if you were actually wrapping the entire wallet. Open the wallet and invite
to a spectator to take out the signed card.

PREDICTION

Ask a spectator to shuffle the cards. When they return them to you, take them face down and look at the card.
inferior and remember it. When placing the deck on the table, secretly turn over the card that is at the bottom and
Learn it too. Leave the deck with the card face down and the others face up.
Ask a spectator to cut a packet of about two thirds of the deck and place it face up.
down next to the rest of the cards. While doing so, he writes a prediction on a piece of paper (the two cards that you
you have learned) and give it to another viewer.
Now ask the spectator to cut the second packet in half and to place the third packet that he has
faced up next to the other two, leaving three packages on the table: the two of the
sides up and the one in the center face down. Place the first package (the one that has the turned card underneath)
about the one in the center and the two together over the third. Ask a spectator to take the cards that are face up.
up in the middle of the deck, I left them on the table and cut them into two piles.
Place the prediction on top of the package above, and on it, the crossed lower package. In this way
we have the sheet of paper between the two prediction cards in it. The way to place the cut will confuse the
spectator, who will believe that the paper is placed in the spot where he cut it.

A good location

Ask a spectator to freely choose a card from a previously shuffled deck and return it,
introducing it through the middle while you flip through one end of the cards. Prevents the card from entering from the
pressing firmly the other end of the deck. Hit the inner end with your fingers to leave
the cards at the same level and then do the same with the other end, but this time give a sharp hit, in a way
that the card that protruded at the front will now stick out at the back by about two or three millimeters. Get ready to do
a mixture by dealing, and for that, place the right thumb on the end of the deck, divide it into two, not
exactly by the card that stands out, but a card one lower, so that the chosen card will remain in
second place starting from the bottom in the right-hand package. Make the mix, letting them fall.
first of all, the two bottom cards of the right pack so they do not get out of place. Now you can
show the top and bottom cards and, with a mix in your hands, place the chosen card in the spot that
diseases.

THE GOSSIP QUEEN

Any deck can be used. Have one or several spectators shuffle thoroughly. Retrieve the
letters and look among them for the queen of clubs, the most gossipy of all, and as you go through the cards,
extend the first four and remember them. To memorize them, first repeat their values, for example 4, 7, 3,
6 and remember it in pairs, that is, forty-seven, thirty-six, and then the initials of the suits, for
example, T.D.C.P., for clubs, diamonds, hearts, and spades. With practice, one can learn it.
four cards just by glancing at them. Ask a spectator to deal the cards face down into four
piles. Push the queen of clubs under one of the piles for a moment and then bring it close to her ear 'to
Let him tell you the name of the card he has seen and repeat it out loud. Do the same with the lower cards.
from the other three piles.

THE DOCTOR OF LETTERS

EFFECT.- A borrowed deck may be used if desired. The magician asks a spectator to name a
number from 1 to 12, give that number of cards without cheating and hand the last one to the spectator, who shows it and
the signature. The magician then says that the Card represents a man who suffered an accident and had to
amputate a leg (he cuts off a corner of the card and hands it to the spectator). The man has a
tremendous nightmare in which one sees oneself broken into pieces (the magician breaks the card, which has the face towards
the audience, in several pieces) until a doctor appears in the dream who covers him with a white sheet...
but the man suddenly wakes up and finds himself in the hospital, with his body intact except for the
leg that is missing (it is verified that the cut corner matches the card and the spectator recognizes its
company).
REALIZATION.- Before starting, take the sixes, sevens, and eights of each suit and place them on top of the deck.
in any order, so that the chosen card will necessarily be one of them. Draw the card and, while
the spectator signs it, takes the deck and the cards you have given, takes out a card of the same suit and places it in the
lower place: if the chosen card is a six, take a seven; if it is a seven, take a six, and if it is an eight, take a
seven
Let's assume that the chosen card is the seven of clubs. Then take the six of clubs, place it face up.
from the deck and cut it in two. Retrieve the seven of clubs, take the lower packet of the two that have
left after cutting the deck and place the seven underneath (that is, covering the six of clubs). Slide both
letters as if they were about three centimeters towards the end of the deck opposite the odd point of
seven. Hold the package with the face towards the audience. Apparently, only the seven of clubs sticks out. Place
in front of the rest of the deck, matching the moment in the story when the man enters
in the hospital. Hold the deck firmly and cut the corners of the indices of the two cards at the same
Time. Only deliver to the viewer the one from seven, which you will have pushed forward with your thumb.
He puts his hand in his pocket to search for a rubber band and releases the index of six.
Turn the deck face down and pretend to draw the seven of clubs (actually, push this card with the
left index finger until it is at the same level as the others and drop the six of clubs face up.
down on the table). Surround the deck with the rubber band and hand it to the spectator. Pick up the card from the table.
covering with fingers the corner of the index and the gap of the missing clover. As it continues,
narration, tear the letter in half and place in front the half that is missing a corner. Tear it with a lot of
Clarity often comes in vain. There is nothing left but to make the little pieces disappear.
The dream sheet is represented by a handkerchief that has a small pocket in one corner. It covers the
pieces with the handkerchief and give them to a spectator in such a way that they have the pocket with them between their fingers.
little pieces inside. It narrates the end of the dream, waves the handkerchief and... the pieces of letter have disappeared.
Tear a a corner of the deck until you reach the card that has a missing corner. Offer to the spectator
the deck so that he can take the wounded card out of the hospital and ask him to identify his signature and verify that it
corner matches exactly.

THE SEAL ON THE LETTER by Jordan

EFFECT.- A postage stamp is affixed to a letter to identify it. Ten letters are separated and placed
the chosen card among them while a spectator holds the rest of the deck. The marked card returns to
the deck, with only ten cards left out of it.
Execution.- Before starting, moisten one edge of the adhesive side of a postage stamp and stick it on
one of the clovers that is not the center of the three clovers, with the damp side facing the end of the
letter. Place this letter at the bottom of the deck and the ace of clubs at the top.
The game begins by forcing a spectator the ace of clubs; then cut and return the three of,
put the clubs back in their initial position beneath the deck. Leave the deck on the table. Take the chosen card face up
Down, take out another stamp like the first one and moisten it. At the same time, moisten the tip of your middle finger.
right. Without lifting the ace, hit the stamp exactly in the same place where the stamp of the
three of clubs. Show the face to the audience without seeing it yourself. Place the card face down on the table and, on top of it,
her, the rest of the deck.
Take ten cards from the top of the deck and form a stack with them on the table. Push the ace back, take out the three of
clovers and leave it on the ten cards. Cut the deck and hand it to a spectator. Gather the small packet,
Take the three of clubs and insert it in the middle enough to hide the third club. Lift up
the hands and show the audience the card, which will look like a club ace with a seal on one side. When you are
completely introducing it among the others, fold the seal backwards and moisten it so that it sticks to the
immediately higher card. Thus, when counting the cards again, there will be ten and not eleven and they
They will be able to cut and fan out without danger. The viewer will find the ace in the deck.

COLOR DIVINATION by Jordan

EFFECT.- A spectator takes a deck of cards that can be borrowed face up and gives the red cards (of
hearts and diamonds) face down on your left hand and the black ones (of spades and clubs) face up on
your right hand. Leave the black cards on the table and hand her the red ones to shuffle. Write on a
little paper a prediction and fold it. The spectator takes a face-down card at random without looking at it and places it.
about the black card pack. Fan out the black cards and show the red card; it turns out to be
the prediction card. Finally, the card is returned to the red pack and the game is repeated.
REALIZATION.- Count the red cards as they are deposited into your left hand. The card of
the prediction will be made by number twenty-six. When you receive it, place the tip of your finger underneath it
pinky. Next, while you turn to the left to leave the black cards on the table, stretch your
fingers of the left hand and, using them as leverage, lift the top card, take a look at it and
slide it under the deck of black cards, which is face up, when you bring your hands closer. Leave the deck
on the table along with the red letter that you just added and hand the red package to the viewer so that
I mixed it up. Write the name of the card you saw earlier on a piece of paper, fold it, and leave it on the table. Turn it over.
black package face down. The spectator inserts a red card into the black package, opened like a fan.
any face down, without looking at it. Take it to the top position by jumping and open the package again
in a fan. The card whose name you have written on the paper is now in the middle; the spectator will think that it
It is about the card he just introduced. He asks for the prediction to be read, takes out the red card, shows it, and
return it to its color package. You can then repeat the game.

THE DISAPPEARING COUPLE by Jordan

When you take the deck out of its case, pay attention to the top two cards; drop them back into the case and take out
the rest of the cards. Write the names of these two cards on a sheet of paper. Fold the prediction and
give it to a spectator Ask a spectator to shuffle the deck, cut it, and hand you one of the
packages. Insert this package into the case by making a separation with your thumb at one corner of the
letters and, first inserting this corner, make the two cards that are already in the case stay in the middle.
Take the other pack and deal a row of four cards face down. Look at the first one, name it while it
distribute and let the viewers see it very briefly. When you distribute the next two, say the
name the two cards of the prediction and do not show them. Finally, correctly name the fourth card.
and allows this time for the audience to see it. Ask someone to choose between the two cards in the center and the two from the
sides. Interpret the response in such a way that you use the center cards; insert them into the middle of the deck and
hand it over to a spectator. Arrange the two cards to go into the case's package. Finally, it
they examine the packages and verify that the miracle has occurred.

THE UNKNOWN LETTER by Jordan

For this game, you can use any well-shuffled deck of cards. Take the cards and go
passing them before a spectator one by one slowly from the left hand to the right, counting them in
Speak loudly and place each one behind the previous one to maintain the order. Ask a spectator to pay attention.
in a letter and remember your order number. Before you reach halfway through the deck, you should have already
chosen the card. Once this is done, and while you still hold the cards in an upright position, pull from the
top card of the right hand package being passed to the top place of the left hand package;
Square the deck and cut it as precisely in half as you can. Shuffle the cards from the half again.
superior to the viewer to make sure that their card is still there. Indeed, it is there, but located a
place higher than he thinks.
Hand the top packet to the spectator and take the other one. Place a card face down on the table and the spectator
give another from his pack on yours, on the count of one. You deal a second card and he another, at the same time as
say 'two'. Continue like this, dealing cards alternately until you reach the number just before their card.
Then take the pile from the table (whose top card will be the chosen one) with your right hand and, while
you ask the spectator to name their card and place it face down on the table, then you put the pack in your right hand
about the one on the left as to square them, but instead, holding the cards in position
vertical, pull with the left thumb the top card of the right package bringing it to the top place of the
left. Leave the package in your right hand on the table and place the top letter from the package you have.
now in the hands (that is, the chosen card) on the table face down. The spectator names the chosen card and
he turns over his card, hoping to find the chosen one, but it doesn't happen that way. Show your card: it turns out to be the card he
election.

AUTOCONTROL by Leroy

EFFECT.- A spectator shuffles a random deck of cards and lays it face down on the table. Then they point to the
He takes out the card he desires from the deck and leaves it in plain sight. He is then asked to think of a card.
He names it and confirms that it is not in the deck. He himself flips over the card he drew at the beginning, which turns out to be
to be the same as has been thought.
REALIZATION.- The success of this game largely depends on how you sell it (presentation, talk, etc.).
When the spectator points to a card, take it and place it on the top of the outer pocket of the
jacket, 'so that it can be seen all the time,' as you explain. As soon as the spectator names the card that
Have you thought about it? Take the deck, shuffle the cards quickly, and when you get to it, bring it to the top.
Make sure you don't find it and ask the spectator to examine the deck themselves. Palm the top card.
and hand over the deck. The spectator also cannot find the card. Now act as if you are taking the card from your pocket.
(actually, he pushes the letter from his pocket inward so that it can't be seen and takes out the letter instead)
(palm) and leave it on the table. Show it so that it can be verified that it is indeed the card.
thoughtful.
It is interesting to review the following description of an effect by Robert Houdin in his book Les secrets from 1868:
How to place any card on the table and announce that it will match in suit and number with any card.
that the viewer desires.
The modern inventor keeps the letter in his pocket instead of leaving it on the table and announces that he has invented a
new game.

IN THE POCKET

Before starting, keep two cards in the right pocket of your pants. At the beginning of the game you can
show that it is empty by putting the cards in the upper inner corner and turning the pocket around. Ask to
a spectator who shuffles the cards, retrieves them and deals the top three cards while you
You memorize them. Ask a spectator to think of one of them, keep them in your pants pocket. Go.
taking out one by one the two cards hidden previously and placing them
face down on the ace without showing them. Ask the spectator to name the thought card. Now, remembering the
three cards from the beginning and the order in which you stored them, will easily be able to pull the correct card. To achieve the
desired effect you must do last without hesitation or wavering.

FIND THE LADY by Annemann

The effect consists of placing the four aces and a queen in separate envelopes, which are thoroughly mixed.
When they are handed over one by one to the magician, he guesses which one the lady is in.
The trick is quite simple: the aces are kept in the envelopes in a horizontal position and the queen in vertical. This,
naturally, it is done without being seen. Introduce the lady like the other cards, but then turn it while hiding
behind the flap of the envelope.
If you do not announce in advance what the effect will be, in case they deliver to you first...
about the lady, you could say that was what it was about and open the envelope to check that,
Indeed, it has the lady inside, placing the card in a vertical position before taking it out. The same
you can do if the lady's envelope is the last one. In other cases, keep bringing each of the envelopes closer to
the forehead and guess which one the lady is in.

SUPER PREDICTION OF A CARD by Vernon

This game is based on the following move: take any deck of cards and hold it firmly by the corner.
inner left between the thumb and the index and middle fingers. Pressing down hard, push
to the left with the thumb and the deck will clearly open at a point. Close the deck. When repeating it
same, the deck opens in the same place; if it were to open in another place, it would press the cards more.
To put all this into practice, borrow a well-shuffled deck of cards. Ask a spectator to draw
paper and pencil and, in the meantime, check if you get the pass explained above. If necessary, cut so that the
place where the letters open is approximately two thirds starting from the bottom and it throws
a glimpse at the index of the letter by which the two packages are separated (the lower letter of the upper package).
Write the name of that card, fold the paper and leave it in the care of a spectator. Also give them the card.
superior and, while you prepare to execute the aforementioned pass, take note that the cards are
perfectly square and shows all sides. Instruct the viewer to place the card face up in
the deck for the place you wish (while you ensure that this place is below the place for which
the cards are separated). Place the card so that it sticks out diagonally from the opposite corner to the
left thumb. Raise the deck until it is vertical. Perform the secret pass by pushing the top packet
about two or three centimeters to the right and, at that same moment, take that package along with the letter
that was introduced, with the right hand. Shows the bottom card of the package. It is the prediction.

THE FINGER TIPS by Baker

Hand a spectator a complete deck of cards and ask them to shuffle it. Indicate to them that
just think of a card while mixing. Spread the cards on the table face up. Now ask the
spectator who places the right hand hanging over the cards with the index finger pointing down and that
slowly traverse the span of letters, from the beginning to the end, and back to the beginning. Indicate to him that
When you reach his letter think: 'Stop!', but don't let him stop or hesitate. Before he does, move away a little.
from the table.
It has been shown that if the spectator follows your orders, when they reach their card, they will unconsciously hesitate.
for a fraction of a second. From very close, this is not noticeable, but as you step back a bit, you will see it.
clearly, in such a way that you will be able to know in which area the chosen card is, with an error of five or six
letters at most. Return to the table, take a look at the group of cards and memorize them. Cut
shuffle the deck so that the group is on top and take the cards behind your back. While learning from
remember the cards, forget the suits and only remember the numbers, as if it were a phone number
(for example, 487 - 62).
Ask what the number of the chosen card is, take it out of the deck, and place it face down on the table.
Ask what the suit is and, to finish, show the card.

MENTAL STRENGTH WITH FIVE CARDS by Vernon

The following cards are placed in a row on the table: King of hearts, 7 of clubs, ace of diamonds, 4 of
hearts and 9 of diamonds. The magician addresses a spectator saying something like: "I have placed five cards there,
chosen at random, and I want you to think of one of them. You can choose freely, don't think that
I am not trying to influence your decision in any way. For example, here we have an ace in the center. You can choose it or
No. You might think that for some reason there is only one black card among four red ones. This might or might not affect ...
your decision. Look at all the cards for as long as you wish; you must know that, whatever the card
whichever you finally choose, I will place a card face down on your hand and only then will I ask you to
names. It will be your letter. But even then you will have the opportunity to change your mind and, still, the letter
In your hand will be the intended letter.
Once the spectator has mentally chosen, he takes the five cards from the table, shuffles them, and draws the 4 of
hearts and place it in your hand face down. The spectator names their card, which will almost infallibly be the
4 of hearts. This game is purely psychological. The spectator rejects the king and the ace for being too
conspicuous, the 7 of clubs for being the only black card and for the frequent use of the number seven in this type of
tricks; the 9 of diamonds is also not typically chosen because it is said to bring bad luck, leaving no other option.
that the 4 of hearts.
In the talk, you must lead the viewer to weigh the reasons for choosing or rejecting each one of the
cards. If you allow me to choose quickly, it is almost certain that I will lose the game.

While you still do not have experience with this effect, instead of placing it on the spectator's hand only
the 4 of hearts, leaves the five cards, with the 4 on top and the K of hearts below, so that if he names the K
you just have to turn the package over.

MENTALIST MYSTERY

Ask a spectator to think of a card while shuffling the deck. They can change as many times as they want.
but once a decision has been made, one must stick to it. Next, take a card of the size
approximately of a playing card and draw four lines over it, forming five spaces so that the spaces
First, third, and fifth should be somewhat greater than the second and fourth. Hand the card to a spectator.
together with the pencil and ask him to write in the spaces the names of five cards: the one he thought of and others.
four random letters. Speak to him like this: "You can write them down in any order you want; write the name of your"
letter in the place you think is most appropriate. You can write it in the first space, at the end, or in the middle, but
I am not going to keep talking so as not to influence a decision that must be entirely yours.
Almost infallibly, the chosen card will be noted in the second space and, if not, in the third. Additionally,
You have another detail in your favor: you can observe the movements of the hand while writing. Position yourself relatively
close to him, because you only need to see the hand. When he writes the names of the four cards any,
There will always be some hesitation, but when it comes to what she has thought of, she will write it down without hesitation.
After this, take the deck and the card, take a look at the name that appears in the space you think is correct and
leave the card on the table, face down. Look for the card you think was chosen and place it on the table, also face up
below. Hand the spectator the list of cards and ask them to cross out all but the chosen one;
continuation, show the card you drew. With a little experience, you'll always be able to guess the card.
The audience will have the impression that you chose any card from the fifty-two in the deck.

COINCIDENCE OF ASSES By Lubrent

It is another psychological game in which a spectator is suggested to do what you want.

Take two sets of aces, give one to the spectator and keep the other for yourself. Place the ace of hearts on the
table face down and turn to the spectator saying: 'I want you to choose one of your aces and place it on the'
mine. You can choose the ace you want. For example, the spades one; but I don't want to influence your decision, just put it there.
letter that you prefer." If the viewer is a man, it is practically certain that he will choose the ace of hearts,
since after your comment it will dismiss the one about spades. If it is about a woman, mention the ace of hearts and
he will probably choose the diamond one.
Next, ask the viewer to place the other three aces face up on the table and you, on each one
one of them the ace corresponding. To finish, show the two aces that are face down and can be seen that
they coincide.
If you play the game with another magician, the first card will always be the ace of clubs. A magician will never choose the ace.
neither hearts nor diamonds for being the most commonly used in mentalism and, among the two aces
black, will choose the one with clovers because it tends to attract the least attention. Ends as explained further.
up.
This kind of game doesn't always go well, but it is very interesting to carry them out, if you present them as
thought reading experiments you will not lose prestige if you are wrong, and on the other hand, if you are right,
You will look amazing.

DISAPPEARANCE by Gibson

You can use any complete deck that has a case. Ask a spectator to shuffle the deck.
deck, take a card. and return the rest to you. Square the cards well and put them in the case. Once that
the spectator has focused on his card, turn your back to him and, with your hands behind your back, offer him the
open the case and ask him to insert his card into the middle of the deck. While he does this, squeeze tightly.
the bottom edge of the case so that the letter cannot be perfectly aligned with the others.
Ask him to close the case.
He continues to turn his back to the viewer while he writes down the name of his card on a piece of paper. He quickly opens
the case, take out some cards and thumb through them until you reach a card that stands out from the rest.
Take it out, look at it, and keep it in a pocket of the vest, then close the case. Now, you not only know
which is the chosen card, but you have it stored in your pocket. End the game as you like.
While you extract the card from the case, keep your elbows close to your body to avoid making movements.
strangers who could betray you.

NEW GUESS

Ask a spectator to shuffle a deck of cards. Then, while you go through the cards to remove the joker, pay attention to
the top and bottom cards and remember them. Then shuffle by riffle dropping the bottom card from the deck
left first and the upper right last, so that they do not change position. If
You have some practice, you can look at these cards while shuffling them by riffling. Ask the spectator
let them choose a card, place it on top of the deck, and cut to lose it in the middle (actually, the
letter falls between the two that you know). You can let the viewer mix a little without the danger that it
separate the cards, or, if you prefer, cut several times.
Now you are in a position to locate the card by passing the cards, and to guess it in the way that suits you best.
like it. You can also see which card is chosen by flipping a corner of the deck with your thumb until you arrive
to the cards you know and cut there, but this method, although better, requires a bit more practice.

DIVINATION FROM THE POCKET

Ask a spectator to shuffle a deck thoroughly. Spread the cards starting from the top as if
You were looking for a letter. In reality, count fifteen letters, insert the tip of your little finger underneath.
the last one and close the extension. Announce that, instead of having someone choose a card, you are going to try
to guess a card only thought of by a spectator.
Take the fifteen cards you have separated and leave the rest on the table. Choose one card from among them.
clubs, one of hearts, another of spades, and finally, two of diamonds. Remember the order: clubs,
hearts, spades, diamonds and diamonds. There's no need for you to remember the values of the first four, but
Yes, the one from the second diamond card. Fan these five cards out and ask a spectator to choose.
Mentally one of them. Next, let them fall onto the deck and, on top of them, the remaining ten cards.
Square the set. Now, if you know, make a false mix and cut. Then cut a little packet from the top.
(in fact, exactly five cards) and insert it in the middle. Do the same with another little pack of
down. Repeat all of this again: cut five cards from the top and lose them in the middle and a few cards from
down and lose them too.
This way, the five cards among which the chosen one is located will be on top. You can shuffle.
for today several times without moving them from their place. Keep the deck in your chest pocket. When the
audience name your card, you will be able to take it out immediately.

DIVINATION IN THE DARKNESS

Any well-shuffled deck can be used. Give it to a spectator. The lights go out, the
The spectator places a card on your hand and you, at that moment, name it aloud. When the light is turned on, it
Yes, indeed, you have guessed correctly. You can repeat the game if you wish.
Take advantage of any favorable opportunity (for example, during a game where you have had to turn your back to the
public and you had the deck in your hands) to take the top two or three cards, memorize them, and keep them
in a pocket of the vest. Before the lights go out, bring your hand close to the audience so that they can
easily place a card on it. When you find yourself in the dark and I place the card in your hand,
quickly put it in your pocket and take out the first one that you had prepared, then leaving your hand on the
same position as before.
It's a game that allows repetitions. Despite being simple, if accompanied by a little conversation
scientific about the possible evolution of the sense of touch, or something like that, will be very effective.

THE MAGIC LAUNCH by Annemann

Have a spectator shuffle a deck freely and ask them to choose a card, remember it, and return it to the deck.
deck. Take it to the top position using the method you prefer and make a false shuffle that it
keep it in the same place. Ask a second spectator to take a card, show it, and ask if it
It's about the same card as before. Once you've ensured it's not, place it face up on the deck.
Ask the first spectator to stand to your left on the stage. Indicate to them to raise their hands to the ...
back so that you can hand him the deck there. Indicate to him to quickly take the face-up card.
above and introduce it, losing it in the deck. Just before putting the deck in their hands, make the jump of
a Charlier's hand, taking the card turned over and the next one (the chosen) to the middle. Deliver the
deck. The spectator takes the top card, which is not facing down compared to the others, and places it in the
middle, where it is lost. Ask him to bring the deck forward, to spread it out and to cut it at the place in
that finds the only face-up card. Ask them what their card was, and ask them to flip the top card. Like this
he does it, finding the card he chose himself.
We have included this game in this section because, although it has a pass, it is done so slowly and
with such little risk of being seen, it can be said that it does not require skill
.
FIND YOUR OWN LETTER by Lubrent

Hand a spectator any deck of cards for them to shuffle, split it into two piles, and give one to you.
Explain to him that you are going to turn around and that, in the meantime, he can choose any card from his.
package, look at it, remember it and place it face down on the same package. Turn around and, pressing
the elbows against the body, turn over the card below and the second one on top of your package. When the
Once the spectator has finished, turn around, place your cards on top of theirs, and ask them to take the deck to the
back. Next, you should take the top card and 24
Put it underneath, then the next letter from above, turn it over and insert it in the middle. When there is
finished, ask for the deck and spread it out, showing that there is a card face down. Split the deck at that place,
Ask him what his card was and show the card that was immediately below the turned one. It was his.
It is thus proven that the spectator found their own card.
What happens, in reality, is, evidently, that when flipping the second card, what it does is place it like the
besides the card that you had previously turned over, so it is lost when it is introduced into the
deck. The card that appears face up is the one that was underneath your stack, which you had also turned over.

THE LETTER AND THE CRYSTAL BALL

Many people have claimed authorship of this game, but we have not been able to establish it with certainty.
certainty. The effect consists of a spectator choosing a card from a previously shuffled deck and the
places on the hands of the magician, which he will have previously taken to his back. The magician, then,
Scrutinize a crystal ball and predict the card.
Keep a small crystal ball in the left pocket of your jacket. Hand the deck to a spectator.
to mix it and turn around so that I place any card face down between your hands, at your
back. Since you know that the card is face down, you can also know which corners are
The indices are there. Quickly grab one of these corners and hold it between the tips of your index fingers.
left heart. Put that hand in the left pocket and take out the ball, placing the corner under it.
the letter. Next, pretending to make a great mental effort and after asking the spectator several times
Focus on your card, guess the color first, then the suit, and finally the number.
The success of the game depends on your performance at this moment. Drop the ball with the little piece of paper in the
pocket and show the card, covering the corner hole with your fingers. You can keep the card in the
pocket and repeat the effect, or continue with another different game.
With this game, you can make use of old or incomplete decks. If the opportunity arises and you have to
do it with a borrowed deck, it is advisable that you have a new one to give as a gift to the owner, after
to ask for permission to keep hers, 'as a memory of that meeting.'
Joe Berg proposed an alternative for this game that consists of inserting the card into the sleeve on the side of the
hand holding the ball. If care is taken, it can be done with great cleanliness.

MATHEMATICAL TRICK OF THE SUM

The trick is as follows: You ask someone to write down a four-digit number. On a separate piece of paper, you subtract 2.
to that number and put a 2 in front of it:

Example: If you write 2435 you will write 22433

You write the number separately, so no one sees you. Then you ask someone to write another 4-digit number.
below. Once this is done, you say that the next one you are going to write yourselves. You have to complete with nines.
(that is, make the sum of your figure and the previous one all nines).

Example: If the first number they wrote is 2435 and the second is 2354

2435
2354
7645

We have put 7645 because 7+2=9, 6+3=9, 5+4=9 and 4+5=9. You have to put it simulating that you put it at
chance.

Once this is done, we repeat the operation again, we tell them to put another four-digit number below,
and we put another one again completing to nine with the previous one

2435
2354
7645
4278
5721

Now comes the good part: we tell someone to sum the entire column. The result will be the number that
Previously we had copied onto a paper. Tip: check beforehand because almost everyone makes mistakes when
make the sum.

Explanation: There is nothing mysterious about it. Let’s look at the pairs 2-3 and 4-5 in the column. Both add up to 9999.
so the 4 add up to 19.998. That is, 20.000 minus 2. Adding to the first number is the same as subtracting 2.
and put a 2 in front.

Download a complete collection of magic tricks with images and techniques explained step by step...

The tricks range from simple and without preparation material for special occasions to complex tricks.
performed by famous wizards.

They can be done by beginners or expert wizards ;)

To download the complete collection of magic tricks, follow the instructions shown in the box.
from below