Karl Fulves

New
Card
Rises

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71g

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Illustrated
By
Joseph K.
Schmidt
 1,

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Contents
Introduction -2-

1—1 Brusa’s Card Rise (Walter Brusa) -3-

Illusionary Card Rise (Gene Maze) -10-
Pop Over (Michael Schwartz) -13-
Impromptu Card Rise (Conrad C. Bush) -16-
Motion Mate (Karl Fulves) -19-
A Novel Card Discovery (Sid Lorraine) -20-
A Small Card, Right? (Howard Wurst) -22-
r—i

Kicker (Karl Fulves) -25-

Jagged Edge (Karl Fulves) -27-
DeKolta Katch (Karl Fulves) -31-
Shrink Fit (Karl Fulves) -32-
Tall Tale (Karl Fulves) -34-
Saliva Card Rise (Martin Gardner) -36-
Houdini’s Getaway (Joseph K. Schmidt) -38-
Rising Problems (Karl Fulves) -45-
Trap Shoot (Karl Fulves) -49-
r—i
Resolution (Ariel Frailich) -51-
Thot Lock (Karl Fulves) -54-
I»<

Interceptor (Karl Fulves) -57-

Supernatural (Karl Fulves) -59-

r—i © 1996 Karl Fulves

r-i

sKarl Fulves

FR
Introduction
Regarding one version of the rising cards, Robert-Houdin observed:
“...though it has been performed an extraordinary number of times...it
nevertheless still produces as much wonderment as ever." Jean Hugard
referred to the rising card effect as "the most truly magical of all effects with
FR
playing cards." Because the effect is much written about in the magical lit-
erature, one might overlook the magical impact of a pasteboard suddenly
animated and moving of its own accord. With as much attention devoted to
l"1
presentation as to method, the rising card effect can be the highlight of a
performance.
FR As someone noted in another context, it it not always wise to achieve the
desired effect too quickly. In Modem Magic, Hoffmann reminds the reader
of a fail-safe way to build tension and suspense. Command the chosen card
FR to rise. Nothing happens. Explain the delay. Issue the command again. Still
nothing. Revise the wording, issue new command. The card rises. Voila! the
release of tension. Applause follows.
The material in this manuscript was to have followed two 1982 titles on the
subject, T V. Card Rise and Wireless II. Newly added is Walter Brusa’s you-
have-to-see-it-to-believe-it method of causing any named card to rise, and
Joseph Schmidt’s latest handling of the impromptu haunted deck.
It is fashionable to remark that tricks like the rising cards cannot compete
with space age video of astronauts floating inside spaceships. This is ob-
tw> viously a false premise. One can float without gimmicks if one is willing to
invest billions in the launching of a space ship. Here on Earth the classic
equations still apply, and therefore the magical defiance of gravity still pro-
vokes wonder. None of these tricks make use of elaborate thread hook-ups,
offstage assistants or complicated mechanical contrivances. A note of
thanks is due the contributors for making their outstanding routines avail-
able, and Joseph K. Schmidt for state of the art illustration.

-2-
FR

FR
 /-Walter Brusa’s

Card Rise
RR

Holding a deck of cards in his hand, the magician asks that a spectator
name any card. We will assume the king of diamonds is named. No adjust-
ments are made to the cards, yet the king of diamonds instantly rises out of
RR

the deck. The king can be removed and any other card named. On com-
r—' mand, that card rises from the deck.
The deck contains'52 cards and nothing else, no thread or wires, no sliding
I"! weights or magnets. No cards are jogged or angled, the plunger principle is
not used. When a card is named, that card immediately rises up out of the
deck.
I",

In the following account, a condensed description is given. This is so that

"R
the reader can get a quick overview of the principle. The effect of this sim-
plified handling is still impressive. The spectator is given a deck of cards and
asked to remove any royal flush. Say he removes the royal flush in dia-
monds. The magician remarks that in real life we seldom get so potent a
poker hand. At most we get only four cards of the royal flush and then wait
all night for the fifth card to show up.
RR

The spectator is asked to discard one of the royal flush cards. Say he dis-
cards the ten of diamonds. The magician has been holding a deck of cards
in full view. As soon as the ten of diamonds is discarded from the spectator’s
hand, the magician says,”Here’s how a magician would complete the royal
RR flush." He snaps his fingers and instantly the ten of diamonds rises out of his
pack.
Considering that there are 20 cards the spectator could pick from, the effect
is hardly diminished by limiting it to any royal flush card. As you will now dis-
cover, the effect is just as direct as given above.
RR

RR
-3-
We will deal with the manner in which any diamond royal flush card rises out
of the pack. The principle is then extended to any of the 20 possible royal
flush cards the spectator might choose.

The ace of diamonds is the face card of what will be a packet of five cards. It ■R
is left unprepared. The king, queen, jack and ten of diamonds are then cut
out at the bottom as shown in Figure 1. On the king, a portion equal to the
width of the white border on the face is cut out. On the queen a little more is ■R

removed, on the jack still more, and on the ten even more.

The five cards are stacked as in Figure 2, creating a kind of card index.

Square the packet. Hold it at the bottom between thumb and middle finger ■R
as indicated in Figure 3. The nail of the right forefinger can now contact any
card except the ace at the face and cause that card to rise by pushing up-
ward.

KH
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"R cards are turned

face-down and
then stacked like
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-5-
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-6-

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PR

If the card is the ten of diamonds, the backmost card of the packet,that card
pr
alone will rise. If the card is the jack of diamonds, as the jack is pushed up-
ward, it will rise a little way by itself, then it will pick up the 10D so that the
two cards rise upward in a squared condition. When the double card has ris-
en about an inch, the left thumb pushes the 10D back so it is square with the
packet. The JD can then be removed as long as the left fingers cover the
PR prepared comer of this card.
Similar remarks can be made about the QD and KD. In each case the hand-
PR ling is the same. If it is desired to include the AD as a candidate for the card
rise, then you would put a joker in front of the packet, and make graduated
cuts on each of the five royal flush cards.
l~l

This is the principle. Extending it to the 20 royal flush cards in the deck, the
pattern of cuts is shown in Figures 4 and 5. When the 20 cards have been
PR stacked, the packet looks as shown in Figure 6.
To complete the deck, place a group of about 30 spot cards in front of the
PR
gimmicked packet. Hold the deck so it faces the audience. As soon as a
royal flush card is chosen by the spectator,you cause it to rise from the
PR
deck.
Walter Brusa has extended this to a full deck of 52 cards. Now that the idea
PR has been conveyed, here is his description for the full deck version.

PR

PR

PR

PR
10H 10S 10C 10D
_JH_ JS JC JD
QH. ^S QC QD
KH KS KC KD
AH AS AC AD
-7-
PR

PR
 I",

—I

Walter Brusa’s Description

The effect is clear and simple: a card is named by the spectator- any card-
and it rises automatically from the deck.

First of all, I want to speak about the system in general:

In order to achieve the desired result, I cut the cards in the form of a file reg-
ister. The only card seen in its entire form is the face card of the pack. This is
the only whole and unprepared card.
"I
If you turn the cards face-down,you can see that the basic form of the cards
is more or less a “T". On the right hand side, and directly behind the face
card, are all the diamonds, cut out in the form of a file register. In theory it
would be possible to write the name of each card on the small spaces
available (where I’ve made, for clarity’s sake, a red ‘x’).
•R

Then, still on the right hand half, but a little more to the left, are all the clubs.
On the far left hand side of the pack are the hearts, also cut out in the form
of a file register. And last of all, on the left side, but bordering on the center,
are all spades. (Figure 6 should give the reader a good idea of the layout).
Second, the single cards:
The cards are cut out in order to be a sort of card index, but formed from the
cards themselves. The ace would be the first or face card of each suit and is
therefore cut the least. Then comes the king, queen, jack and so on through
each suit.
I
Third, the handling:
Take the pack in hand, the face of the deck towards the audience. Specta-
-
tor names any card. As mentioned, small marks can key individual cards, or
the marks can key small groups of cards (i.e., an x keys the K-Q-J, a dot
keys the 10-9-8, a line keys the 7-6-5, and so on).
You count on the ‘register’ till you come to the named card- a glance will
suffice- and, while you hold the deck with one hand, the thumbnail of the
other hand pushes the named card up. After you push the card up about a
quarter of an inch, the cards in back of it will be pushed up also. But they will
stay aligned, and come up behind the named card.

-8-
Ii
1 w
!
 I

The audience sees only that the named card rises. The named card rises
I about an inch and a half and it looks like an ordinary playing card. (If it rises
much more than that, the gimmicked lower portion of the card would of
r">
course be exposed.)
Try it first with the King through seven of each suit to familiarize yourself
with the handling. Then you can, if you wish, extend it to cover the complete
deck of 52 cards.

Note by Karl Fulves: Another plan is to have one deck rigged for red
cards, another for black. Have a spectator in the audience name a color as
you go into the pocket for the deck. Remove the proper deck. Have another
spectator name a suit of that color, and another a value from ace thru king. I
find it easier to keep the deck in the case, with the back of the case cut out.
As I pull open the flap of the card case, the named card rises. The audience
is clearly aware that the deck was brought into view Iona before value and
suit were named, so the feat appears to have no explanation.

It is my experience- yours will differ- that when people are asked to name
cards, men name aces, women name queens. I made up a deck gimmicked
to cause any ace, king queen, or jack to rise (thus covering more than e-
nough bases). If the conversation had previously gotten around to card
playing in general, and blackjack in particular, people seemed more likely
l»R
to name one of the above playing card values. Since I was responsible for
only 16 cards, I could make each a double card by gluing each of the 16
likely candidates to an X card. It was easier to find and control a card by
having the fingernail click off double cards.
Ft If the cards are ESP or alphabet cards or repeated cycles like the Audley
Walsh "Magician’s Dream” pack (The Jinx, pg. 298), your work is much
easier. If you have, say, the same 12 cards repeated four times, you can let
the spectator fan one deck, think of any card he sees and name that card
aloud. You pick up a second deck, one that has been in view at all times,
and cause the thought card to rise- a stupefying effect. The thought card
doesn’t even have to be named. Use interrogation to narrow it down, then
cause it to rise from the second deck. The reader may also wish to consult
J.G. Thompson Jr.’s “Jet Thought" (The Pallbearers Review, pg. 497) for
another area worthy of exploitation.

-9-
 ^Gene Maze ---------------------
lllusionary Card
Rise
(In a letter I suggested to Gene Maze a remote card rise as an unsolved j
card problem: The deck is cut into two packets, A and B. A card is chosen i
from packet A, signed and returned to that packet. The performer picks up
packet B. On command, the signed card rises from the center of that pac-
ket. Gene Maze here describes an ingenious solution to this problem. The
optical trickery at the finish really nails it down. KF)
I won’t go into the method of getting the selected card from packet A to pac-
ket B as I've described my approach in a previous letter. (The simplest
method is to palm out the chosen card and get it onto the top of packet B).
With the selected card loaded on top of packet B, pick up that packet and
hold it in the right hand as shown in Figure 1: The cards are gripped be-
tween the right first and second fingers, and the inner end of these cards is
resting on the base of the fingers.

s
1
/ 1
a5 . IB

-10-

*1
 Bend the right thumb down and contact the bottom of the selected card. By
1-1 pushing up with the thumb, the card will start to rise. The performer’s view is
given in Figure 2. The audience view is
shown in Figure 3.
f—1

Once the inner or lower end of the signed

card is about half to three-quarters of an
inch away from the top of the packet (Fig-
1—1

ure 2), stop the pushing action.

Place the packet in the left hand as indi-
cated in Figure 5. With the right hand
1—1 palm down, grip the packet between the
right thumb and second finger at the in-
ner end and get a break of about half the
cards; that is, the right hand grips the
upper half of this packet.
I—1
Once the break has been established, pull the cards above the break in and
up toward the body. At the same time, lower the left hand, which will cause
the risen card to fall to the table. This action is shown in Figure 6. It should
appear as though the card came from the center due to the position of the
right hand above the left hand.
I—I
The critical factor is timing, but I don’t feel that it is going to cause a problem.
I view this approach as an illusionary card rise.

I—I

1—1

f—<

iw»

i—i
 1-1

Joseph Schmidt’s Addition

This is a method of causing
the card to rise from a shuf-
fled packet that can be used —R

in conjunction with the Maze

card rise. It is taken from my
“Command Performance” in
Modem Close Up Card
Problems (1981). After a
card has been chosen and ♦ ♦»
signed, bridge the card as in
the first illustration.
Shuffle the card back into
packet A. Use the Charlier
cut to cut the card back to the
top or bottom of the packet,
where it can be palmed off.
Load it onto the top of pac-
ket B.
—R

Hold packet B so that the

face card of the packet is
toward the audience. It is an
easy matter to engage the
lower end of the chosen card
with the little finger and push "I

the card up as shown in the

second illustration.
An audience view is given in
the third illustration.
After the signed card has
t
been loaded into packet B, 4 Ö
you can hand this packet out
for shuffling. Take it back, cut
the signed card to the top via
the crimp, and go on from
there with the card rise.
!
-12-
 Michael Schwartz

Pop Over
V

(Mike Schwartz devised an offbeat method of causing a card to move of its

own volition. About two decades ago, another magician claimed the basic
idea, so permission was obtained to publish it under the name of its rightful
Rn
inventor. These notes are from a Michael Schwartz letter of February 10,
1983. KF)
A card is selected and returned to the deck. After several shuffles and cuts,
PR

the deck is cut in half. One half is placed on the edge of the other half. Upon
R* command from the performer, the top card of the lower packet flips face up
onto the other packet. Impromptu, no gimmicks.
R» Method: After a card has been selected, returned to the deck and the deck
shuffled and cut, the selected card is brought to the top of the deck. Under-
cut about half the deck with the right hand. At the same time, slide the top
Rn (selected) card forward with the left first finger, Figure 1, about 1/8” or less.
Place the undercut portion on the edge of the overhanging card (Figure 2).
RI
In order for the force of the half deck to flip the overhanging card face-up, it
has to overcome friction. If the proper amount of cards are placed on the
top card that has the proper amount of overhang, the delay can be 3 to 5
seconds, enough time for the performer to command that the card flip up,
(—1

Figure 3.
R»

fW! 70^ CAQD

FR

UNDERCUT
PACKET.

-13-
IR
lt would be easy to say a
knack is required to
cause the card to flip
over properly, and it
does, but maybe a more
scientific approach can
be used. There are 3
conclusions that can
<=>*<
happen: TH1 .

1) The card does not flip

over at all.
2) The card flips over
immediately.
3) card flips over correctly
with the proper delay.

#1 and #2 are the problems. Start with something that can be controlled and
will not vary through trial and error. Use the white border as the distance the
top card is pushed over the edge. Undercut a portion of the deck and place
it on the edge of the overhanging card. If the card does not flip, do it again
but add one more card from the other packet. Continue this procedure until
you get the required results.

If on the initial placement, the card flips immediately, subtract a card at a

time and add it to the main packet until the required results are attained.

There is one other item that may change things; on the day you do the trick
the moisture content of the card may be different than it was the day you
tested it- but that's show biz.

-14-
 Karl Fulves Notes
RR
Different methods were tried to put the performance of this card rise under
more controlled conditions. Static electricity may be one approach that
RR
ultimately will work, but if so, I am denied the proper insight. (In one youthful
experiment, the goal was to place a playing card on the tv screen, leave it
there [it clings because of static electricity] for a few seconds, then cause it
RR
to fall on command. Few experiments failed as utterly as that one.)
Another is to apply moist-
ure to the top card of the
deck, have a card chosen
and replaced on top in an
R* offset condition.
Place the top portion of
RR the deck on top of the CHO8EN

card box, then lean the

balance of the deck a-
RR
gainst the jogged chosen
card, Figure 1.
RR
In time the moisture will
evaporate, causing the
RR chosen card to flip up.

RR The idea of causing mysterious movement at an isolated location is among

the strongest visual effects in magic. The ideal is to work with borrowed ob-
jects in an impromptu setting. Michael Schwartz has opened the door to one
RR
possibility that just may be the solution to a long-sought goal.

RR

RR

-15-
 RR

-1

s Conrad C. Bush ----------------- X

Impromptu Card
■R

Rise z <R

«R
(Connie’e retirement some years back was our loss and Florida’s gain. He
has an encyclopedic knowledge of magic and magicians, and a nonchalant
manner of performing miracle effects that only heightens the impossibility
what is being performed. Consult club reports up through the 1970’s for
glowing reviews of his work. About fifteen years ago he performed a re-
markable card rise from his inexhaustible repertoire. Done with all the little
touches, as if a playing card really had become animated, it is a perfect
close-up mystery. This description is taken from Connie’s letter of October,
1982. KF)
The spectator shuffles the deck and returns it to the performer, who has a
card selected. The card is returned to the deck and by means of the pass,
Hindu shuffle or a jog shuffle, the selected card is brought to the top of the
deck. •R

Do a double lift, show the card and ask the spectator if it is his selected card.
It is not. Turn the deck face-up to show the bottom card. It is not the selected
card. The clear signal is that the chosen card must be lost in the shuffled
deck.
•R
Flip the deck to a face-down condition in the left hand. Return the double
card to the top. The chosen card is back on top of the deck.
Square up the deck. As you do, step back the top half of the deck
about 1 /8” or 3/16", creating a step. At this point the deck is in the
left hand, with the face of the deck toward the audience.

RR

-16-
 The first finger of the right hand is rubbed on the sleeve of the left arm to
RR create static electricity. The finger is then placed on top of the deck. The 4th
finger is secretly placed a-
gainst the card at the bot-
RR
tom of the deck.
With a light touch of the 4th
finger against the bottom of
(—I

the chosen card, raise the

hand and the card rises up
as in Fig. A. This is shown in
more detail in Fig. B.
RR

RR

The card will rise until it

clears the top of its packet.
With a slight pressure, the
card will snap forward a-
gainst the projecting step in
RR
the deck, Fig. C. The right
1 st finger then pushes the
card down behind the step
rr so that it appears that the
card rose up out of the cen-
ter of the deck, Fig. D.
RR

I—I

RR

-17-
 IR

The right first finger pushed the card down behind the step so that it ap-
pears that the card rises up out of the center of the deck. As the first finger
pushed the card into the deck, the left fourth finger pushes up on the bottom
of the deck, squaring it up. This action is depicted in Figure D. —I

Reference note: I seem to recall seeing an explanation of this effect in

one of Jean Hugard’s booklets, but do not remember which one. Jean was
present at a meeting in New York when I did this and Jean was sitting over
to one side. No mention was made about the trick. It was sometime after this
that I recall seeing it in print. Jean was never too particular about giving
credit for effects he published. As Jean was several years my senior, I never
mentioned it to him as it did not mean anything to me. It was just an addition
to an old effect. "R

Karl Fulves note: On occasion I have performed the effect with the follow-
ing added touch. The deck is in new deck order at the start. A freely chosen
L
card rises up out of the center of the deck. When it has risen about two-
thirds of the way out of the deck, the deck is turned face-up and it is shown
that the chosen card has risen up from its original position.
Arrange the deck in new-deck order, or in numerical order according to suit.
Spread the cards and have one chosen from about the center. Square up
the deck, but obtain a break at the point from which the card was removed.
If the chosen card is the 4D, the break will be established between the 3D
and5D.
Lower the deck to a horizontal position in the left hand. Get the deck into —’

position for the depth illusion via the one-hand get-ready. Take back the
chosen card and insert it apparently into the center of the deck, but really
under the top card.
Raise the deck to a vertical position. Get the deck into the stepped condition
shown in Fig. A, but the step is formed at the break. Go through the Connie
Bush handling exactly as written, except that it is not the chosen card that
rises but a double card with the chosen card as the face card of the pair.
The audience sees the chosen card rise up out of the deck. Guide the cho-
sen card back into the step, thus returning it to its original position in the
pack.
At the finish, with the chosen card about two-thirds of the way out of the
deck, turn the deck face-up and spread the cards, revealing that the chosen
card apparently rose up from its original position in the center of the deck.
-18-
RR

rKarl Fulves
RR

Motion Mate
PR

RR

RR

PR
Needed are four queens and four kings. The spectator decides whether she
wants to choose from among the kings or from among the queens. It makes
no difference. Say she picks the kings. They are cut to the face of the pac-
ket.

RR
She decides on any king, no force. Say she picks the KC. This card is placed
on the table. The other kings and queens are dropped into the empty card
case.
RR

The KC is tapped against the outside of the card case. Immediately the
mate of this card- the QC- rises out of the card case.
RR

The QC can be in any position in the packet when the packet is dropped into
the card case. You don’t have to know where it is. The kings and queens
PR can be in any random mixed order at the start. You hold the packet face-up
and transfer cards from face to back until stop is called. The face card of the
packet is placed aside, packet dropped into card case, and the mate of the
chosen card rises. You don’t have to know the identity of the chosen card
and you have no idea where the mate of this card is in the packet.
PR
Method: Packet consists of eight roughed pairs. The KC is roughed to the
QC, the KD to the QD, and so on. Holding packet face-up in left hand deal-
RR
ing grip, transfer cards from face to back of packet until the spectator calls
stop. Right forefinger lifts face card off. Left hand does wrist turn under this
card, turning packet face-down and placing it on table. Drop chosen card
RR onto table. Pick up card box. There is a cut-out on the bottom of the box.
Hold the card box so the cut-out stays on the bottom. Slide the face-down
packet into the card box. Hold the card box upright so it faces the audience,
RR with slot in back. Insert first finger thru slot so it contacts the face card of the
packet. Push upward. Mate of chosen card is seen to rise out of card box.
-19-
 n

^Sid Lorraine--------------
A Novel Card
Discovery
(When "Half Aziz" appeared in TV Card Rise (1982), Rick Johnsson intro-
duced it in part with the words, “I had played with the old chestnut of a half
card as a rising gimmick. You remember it, a half card in the upper end of a
deck and if you riffle that end, the half card will jump out or rise up or pop up
automatically.”
•R
To this I added a parenthetical note: "Will DeSeive’s idea.” In an August 7,i
1982 note, Sid Lorraine wrote: "A quick scan of TV Card Rise brought my
attention to Rick Johnsson’s “Half Aziz” on pg. 23.1 note your comment re
Will DeSeive’s use of the half card. I am curious to learn where this appear-
ed. [Regarding the enclosed] I discovered the principle by accident and am
curious to know how many others did the same.”
The instruction sheet Sid enclosed with his letter was a copy of “A Novel
Card Discovery” from the March 1928 Unking Ring. This is the original text.)
EFFECT: A card is selected by some poor unfortunate and after a few stock
jokes you ask him to replace it in the deck, and for the sake of a change you
don’t cut the deck and ask him to place it on the bottom half but hand him
the cards and ask him to place his card wherever he pleases and to thor-
oughly mix the cards.
While this is being done you can keep the rest awake by a few more stock
gags and when the tittering has ceased you relieve the shuffler of the
weight of the cards and cut them yourself once.
You then heave a sigh and even smile (because the work has passed the
danger zone) and announce in your best stage manner, that the selected
card will appear in rather a novel way. Riffling the cards, the onlookers are
surprised (or they should be) to see a miniature of the selected card jump
-20- l"R
I—t

out of the deck. If the audience are tied in, it might even be safe to remark
that the card is modest and shrinks from publicity.
PR

THE GREAT SECRET: Shh! Shhh! All that is required is a deck of cards of
course a pack will do just as well, and a miniature card, say the two of dubs.
Locate the two of clubs and force it upon an innocent person, if you can find
one.
Hand them the cards and let them lose this freely (?) selected card amongst
PR them. While this is going on you finger palm (face down) the miniature dupli-
cate, providing you can remember where you placed it. After you have col-
lected together all the cards it will be found an easy matter to add the minia-
PR ture to the bottom of the deck, cut the same once, which will bring it to the
center.
r r
You can now rest easy as the dirty work is all over. Just hold the deck in a
vertical position so that the face of the bottom card is fadng the audience,
the hand grasping the lower end. By quickly riffling the edges of the cards
PR
the miniature card will automatically fly out of the deck, or at least project an
inch or so.
!•I
This really works and has even fooled humans.
Reprinted with permission of The Linking Ring, Phil Willmarth Executive Editor

PR

PR

PR

PR

-21-
PR
 RR

sHoward Wurst ----------- X

A Small Card,
Right? RR

____________________________________ y
No one got more out of the Sid Lorraine card rise than Howard Wurst He
performed it hundreds of times, always used it as an opening trick, and
always carried around a deck set to perform this one effect. This is his
handling.
The small card was a card half the size of a regular playing card. The force
card, in this example the 2C (the same card used in the SL write-up) is pla- «R

ced face-down on the table. The half-size 2C is placed on top as shown in

Figure 1. Then the rest of the deck is placed on top of all, Figure 2, and the
deck slid into the card case.
The prepared end of the deck is uppermost in the case, so that if you open-
ed the flap and pulled the deck out, your thumb would press against the 2C
and the half-size 2C right in back of it. Drop the
cased deck into the pocket so the prepared end -------------
is down. Gravity keeps the small card in place. f------------ <
To perform, remove the card box from the
pocket, pull the deck out of the case, thumb
at the face. The face card of the deck is to-
ward you. Return the case to the pocket. «R

The right hand holds the deck.

Place the deck into the left hand, but
grip it in position for the Hindu shuffle.
The prepared end of the deck is to-
ward you at this point.

Rn

-22-
RR
 The right hand re-grips the deck at the inner end, thumb at one inner long
I"!
side, middle finger at the other. Strip small packets of cards off the top of the
deck into the left hand until the spectator calls stop.
Raise the right hand packet, showing the audience the face card of that
packet. This is the force card, the 2C. Say,"It’s important that you remember
fwi
this card.” Slap the right hand packet on top of the cards in the left hand.
The right hand grips the deck from above, thumb at the inner (prepared)
("I
end, fingers at the outer end. Swing the deck around so the face of the deck
is toward the audience and the left hand grips the lower portion, Figure A.
The prepared end of the deck is now on top.

half-card placed on rest of deck is

fop of force placed
r»i card ======\ on top

r«R 1 2

!■*

(“I

("i

-23-
l"R
 "■I

Ask the spectator to name his card. Riffle the upper end of the deck. The
small card jumps out, Figure B.
The trick gets it title from a gag that Howard used. The force card is any
picture card. Howard used the QC. The small card matches the force card.
Thus, in the set-up of Figures 1 and 2, you would place the full size QC on
the table, the small QC on top of it, and the balance of the deck on top of all.
The handling of the force is as written above.
Just as Howard was about to riffle the upper end of the deck (Figure A), he
said, "It was a small card, right?’ In this context, ‘small’ means small valued
or low-valued. The spectator’s card was obviously a high-valued card, so he
said "No.” •R

Howard did one of the all-time double takes, exclaiming "No?’ as if he was
in serious trouble. This was the opening trick and already things were going
wrong. Then he riffled the end of the deck. The small card popped up. How-
ard said, "Queen of Clubs?’ The spectator said yes with a laugh. Howard
said, “I thoughts was a small card,’’ pulled the small QC out of the deck with
a flourish and went on with his next trick.

Notes
(If there is concern that the small card might accidentally slip out of the
deck, look up Joe Berg’s “A Trained Card,” a self-contained method des-
cribed in Berg’s 1930 book, Here's Magid)
The line, “It was a small card, right?’ has also been used by Derek Dingle in
his presentaiton of a similar effect See Fred Braue’s "Little Card Rise” in
HMM (January 1949) for a routine that combines the small card rise with the
cut deeper force.

-24-
I«

RR

sKarl Fulves
rr

Kicker
rr

rr

r^i

Two cards are chosen and returned to the deck. The performer riffles the
outer end of the deck, causing the first card to rise up out of the pack. Then
he causes the second card to rise- but with a twist.

Method: Cut a 3D in half across the middle. Place

RR
one half face-down on the table. Place a small- -< - 2H
size 2H in the position shown in the first drawing.
Slide a joker under these cards as indicated in the
RR
second drawing.

Place the regular size 2D and 3D on top of the

R!
pack. Drop the pack on top of the prepared cards. 3D
Finally, snap a rubber band around the middle of
the deck to hold the prepared cards in place.

When ready to present the routine, place the band-

RR ed deck on the table. Snap the band once or twice
as you say, 'This is the only trick that uses rubber
band power."
RR

Remove the rubber band. Place the deck in left

hand dealing grip. The two force cards are on top of
RR
the deck at this point.

RR
Grip the deck from above with the right hand. Lift off about half the deck.
The right forefinger engages the two or three top cards and swing cuts
them onto the left hand packet. The balance of the right hand packet is
R1
dropped on top, but establish a left 4th finger break between the packets.

Thumb riffle along the left long side of the pack until stop is called. Lift off all
RR cards above the break and place this packet on the table. Take the top two
cards off the left-hand packet (2H & 3D). Give one to each of two spectators.
-25-
RR

RR
After each person has been told to remember his card, take them back in
any order and drop them onto the tabled packet. Then drop the balance of
the deck on top of all. Hold the deck in the left hand in readiness for Sid
Lorraine’s riffle rise.
The situation at this point is shown in the draw-
ing at the right. The half-3D is in the center of 3D
the deck and is uppermost. One could riffle the
upper end of the deck and cause the 3D to
jump into view, but it is better to build suspense.
Riffle the upper end of the deck, but start the
riffle in back of the 3D. Thus the half-3D is never ■R

affected by the riffle process. As a result, noth-

ing happens. Appear to be concerned. Do it
again. Still nothing.
Pretend to notice the rubber band lying on the table. Still holding the deck in
left hand dealing grip, grasp the rubber band, stretch it between the hands,
say, "Strong enough,” put down the band.
Say to the spectator, "A small card, right?’ Since a 3-spot is a low-value
card, he will say yes. “Good.” Now end riffle the entire deck. The 3D jumps
into view. The deck is vertical at this point. Allow it to pivot back toward the
body so it lies face-up on the left palm. The 3D is now face-up and protrud-
ing from the near end of the deck. Push it back into the deck. Flip the deck
over side for side.
You’re going to do a repeat card rise. The audience has already seen a
card jump out of the pack, so it means nothing to do the same thing again.
To achieve the surprise finish, it is necessary to bait the trap. Say to the
second spectator, “A small card?’ He says yes. Pause as if to think it over.
“Even sma//erthan his?’ The spectator thinks you are talking about the I
value of the card; 2 is indeed smaller than 3. He says yes.
Unknown to the audience, the deck was turned around end for end in the
handling of the 3D, so you are all set to go. Elevate the pack to a vertical
position. Now cause the small size 2H to rise out of the pack. It is an amus-
ing surprise finish to the trick.

-26-
HR

Karl Fulves

(—I Jagged Edge

/—I

In this version of the rising card effect, a paradox takes place. It is a twist on
the effect where an isolated prediction card turns out to be a card later cho-
sen by the spectator. In the present instance, that description might be
termed a half-truth.
i«i The deck is removed from the card case. One card is placed inside the card
box as a prediction. The balance of the deck is shuffled and a card chosen.
Say the card is the 6D. This card is returned to the deck.
PR

The performer rattles the card box. A single card can be heard rattling a-
round inside the box. The performer says, “For my prediction to be correct,
<R>
it must match your card. First let’s find your card. Which card did you pick?”
The spectator names the 6D. Riffling the end of the deck, the performer
r-i
causes the 6D to pop out into view. “So far so good," he says, “Here’s your
receipt.” He tears the top half of the card off and hands it to the spectator.
“And here’s my prediction, matching your card.” Another spectator reaches
into the card box and removes a card. It is half of a 6D and it exactly fits the
I"! half-6D held by the spectator.
Method: Tear a red-backed 6D in half
F”! across the middle, but make sure the tear
produces a jagged, uneven edge. Place
half of the card in a red card box.
("1

The other preparation is as given in the trick

preceding this one, i.e., place a blue-back 6D
I—!
face-down on the table. Place the half-6D

(*R
-27-
on top of this card, and the blue-backed deck on top of all. This preparation
is the same as shown in Figures 1 and 2 on pg. 23. Case the deck.
At the time of performance, remove the deck from the case. Remark that
you’ve made a prediction. Pick up the red card box. Open it and pull the red-
backed half-6D part way out, back of the card to the audience. Drop it back
into the card box. Drop it into a drinking glass so it stands upright and is
clearly visible to the audience.
Force the 6D using the Hindu shuffle force as described in "A Small Card,
Right?’ Then riffle the end of the deck, causing the half-6D to pop up into
view. Pretend to tear off the top half of the 6D. Place the deck aside.
You are holding the half-6D in one hand, face of the card to the audience.
Say, “In order for this to be a perfect match, the cards must act in sym-
pathy.” With the free hand reach into the other card box and remove the
half-6D, face toward the audience. Slowly bring the two half cards together
until the jagged edges match up.
Say, "Of course this card has a different color back." Turn the prediction
card around so the red back shows. Rub it back to back with the other half-
card, then show the backs of both half-cards to the audience, again
bringing them together to point up the perfect match.
If the card were to be tom in half evenly across the middle, the two halves
would match, but it isn’t any great feat; after all, any two evenly tom half-
cards look like they match up. By giving the tom card a jagged edge, it is
obvious that these two half-cards match up to produce a single card.
In the late 1950’s I did this as a two-deck trick; the 6D popped up from the
center of one deck, the matching 6D from the other. One 6D was apparently
tom in half, then the other. Finally the two halves were shown to match. Go-
ing back and forth from one deck to the other slowed down the effect. The
streamlined handling given above was finally adopted. (On a related sub-
ject: ’’Rise & Fair’ is a two-deck card rise, given as a card problem, which
can be found in Wireless II on pg. 35.)

-28-
 I

No Duplicate Method
"Jagged Edge” can be done with a single deck and no duplicate card. The
idea is to tear a card in half, place one half in the card box and the other half
in the deck. The half-card in the deck is forced, then caused to pop up into
view, then ‘tom’ away from the deck, then shown to match the half-card in
the card box.

There are numerous ways a half-card can be forced. One is the method
suggested by Rick Johnsson in "Half Azis" (T. V. Card Rise, pg. 23). Here is
Rick’s description of the force:

fWI “With the half card on the bottom of the deck

and at the outer end, do a Hindu Shuffle but
holding the cards at the middle of the sides to
hold the half card in place.
PR
half card
“Ask a spectator to say stop. When he does
so, drop the remaining cards in the right hand
onto the left hand cards, jogged outward for a
bit less than half the length of the deck.
PR “Raise the cards faces toward the spectator
and ask that he remember the card he stop-
ped at (the half card shows). Square the
deck..”

Another method is a modification of a Tom Sellers force (See "Forced

Prognostico" in The Jinx, pg. 517) and goes as follows.
F—I
Tear a card like the 4D in half across the middle.
Place a half-4D card under the joker, and back to
J back with it, such that the jagged or tom edge lines up
o with the bottom of the joker as show in the drawing.
This card is placed on the face of the deck.
PR
Retain the prepared card in place when the deck is
shuffled. To force the half-card, place the face-up
deck in left hand dealing grip.
You are going to perform the action of a double lift, more exactly, a one-
pr and-a-half card lift. The right first finger lifts the double card at the lower
right comer. The double is taken between right thumb and first finger.
r-i -29-
The left thumb levers the deck over to a face-down condition. With the deck
in left-hand dealing grip, the left thumb riffles along the left side until stop is
called. Ask the spectator if he wants you to release one more card, then (if
yes) if he wants one more. This means nothing in terms of method, but puts
the spectator in charge and therefore adds an element of fairness.
Insert the double card into the break with the joker face-up and outjogged,
but just enough to line up the half-card with the deck.
Flip the deck over so it is I
face-up in the left hand. Be-
ginning at the face of the joker
deck, the right fingers draw 4D
cards back toward the body
until you reach the last face-
up card. Call attention to that
card. It is the half-4D.
The 4D becomes the chosen k 1
card. Apply firm pressure to
the sides of the deck with the
left thumb and fingers. Slide
the joker out of the deck (this
kills the suspicion among
magic-wise onlookers that
the Sellers force is in play).
Drop the joker to the table. Square the deck and flip it face-down into the
waiting left hand. Drop the joker on top. You are now set to perform the card
rise.
The audience should see you insert a complete card into the card box. The
half card is behind the full card. Once the card is inside the card box, pull the
half card part way out so the prediction is always in view.
The reader may wish to consider a version of this effect where the chosen
card is signed. At the finish, half of the signed card rises out of the deck. The
other half of the signed card is pulled out of the card box. Thus, not only do •I
the two halves match, the portions of the signatures do too.

-30-

I
 Karl Fulves

De Kolta Katch
r-1

l"i

f—i

i"i I used this as a comedy effect in a platform act. A card is chosen- no force-
signed by the spectator and returned to the deck. I state that I will drop the
deck into a large paper bag, whereupon the chosen card will fly out of the
bag and into the air.
The deck is cascaded into the bag. Nothing happens. The performer peers
into the bag, whereupon all the cards fly out of the bag ala the de Kolta
Rising Card effect. As the cards fly out of the bag, the magician plucks one
card out of the air. It is the signed chosen card.
r»i

Method: Have any card chosen, signed and returned to the deck. Bring it to
the top. Grasp the deck by the ends
as you prepare to spring the cards
into the bag. As you do, palm the
!■»
signed card. The bag is cut away in
back. Inside is a duplicate deck.
The right hand supposedly holds
r"i the bag to steady it Really, the
right hand reaches into the bag,
and grasps the deck as in the
P" drawing. The left hand springs its
deck into the bag. The right hand
springs its deck up into the air. The
left hand reaches into the flying
cards and pretends to pluck one
card out. Have the spectator verify
that this is his card.

r-i See also ‘Threadless De Kolta" in

Wireless (1982).
-31-
f—1
 »■R

Karl Fulves

Shrink Fit
Here the card that rises out of the deck is not the chosen card. The wrong
card instantly shrinks to half size and changes into the correct card.

Cut a full-size 4S in half. Glue this back to back with a half-size 2S. The gim-
mick shows the 4S on one side and the 2S on the other, Figure 1. "1

Place the full-size 2S face down on the table. Put the gimmick on top as
shown in Figure 2. Then put the rest of the deck on top of all.
Hold the deck in the left-hand, Figure 3. Force the 2S via the Hindu shuffle
force. Then slap the right-hand packet on top of the lower half of the deck.
Say, "Let’s see if we can find your card." Riffle the upper end of the deck.
The 4S pops up into view from the center of the deck, Figure 4.
Say, “Your card?’ The spectator says no. "No? Was it a bigger card? A
Smaller card?” The spectator says smaller.
"Smaller. Maybe half the size of this one.” As you speak, visibly start to push
the 4S into the right hand, Figure 5. Tip the front of the deck down so the
completion of the motion can’t be seen. Push the half-card completely out of
the deck and into the right hand.
Turn the back of the right hand to the audience. “Half of the four of spades
would be the two of spades." Use the thru-the-fist flourish to produce the
small card, Figure 6.
The above is the original handling. Later, use was made of a more visible
size change; when the position of Figure 4 was reached, the pop-up card l-l

was grasped with one hand, the deck with the other. A motion was made as
-32-
 I

if breaking a stick or cracking an egg. In that motion the half-card was pulled
from the deck and displayed so the 2S side showed to the audience. Done
this way, it looks like an instantaneous change of size and identity.

one side other side

2
♦

i«l
*
2
l"l

l-R

F-l

r-l

FR

r—f

fr

HR

-33-
 rKarl Fulves

Tall Tale
The effect is opposite to that described in "Shrink Fit." After a chosen card
rises out of the deck, the performer says, "People ask how a card can do
this. It’s simple. The card is taller than the pack.” So saying, he shows that
the chosen card is longer than the rest of the cards.
Method: Place any card, say the 8C, face-down
on the table. Cut a strip away from the top of the
card as shown in Figure A. This should measure
about 3/8 of an inch deep and half the width of
the card.
Then cut a triangular notch in the card at the pos-
A
ition shown in Figure B.
Finally, cut a slot that extends slightly downward
from the triangle, as indicated in Figure C.
Cut another 8C in half. In this routine you will use
only one half of this card, Figure D. B
Place the half-card
on top of the gaffed
card, Figure E. Put
an ungaffed 8C on D
the table, then the
prepared cards on
top, then the deck E C
on top of all.

-34-
 I

To present, use the Hindu shuffle method of forcing the bottom card of the
deck, i.e., grasp the deck from above with the right hand, strip small packets
off the top until the spectator calls stop. Flash the face of the right hand pac-
hr ket to the spectator, slap the right hand packet on top of all. The prepared
cards are now in the center of the deck.
End riffle the deck to cause the 8C to pop up from the center of the deck.
You then explain how it is done; the 8C is longer than the other cards.
As you speak, lift the half-8C slightly.
You will feel it click off the cut-out
portion of the gaffed 8C. Then slide
it down so it is engaged in the slot as
shown in the drawing at the right.
The left thumb can aid in this by
widening the opening where the
half-8C protrudes from the deck.
Lower the deck to a horizontal posi-
tion. Push in on the half-8C with the
!*l left forefinger. The inner end of the
full-size 8C is then pushed out of the
inner end of the deck as shown in
the second drawing.

i —i
Push in on this end with the right
thumb, then push in with the left first
finger. As the 8C is pushed back and
f-i forth, the illusion is produced that
the 80 is longer than the deck.
Push the half-8C flush with the deck.
Then grasp the gaffed 8C with the
right hand, fingers on top, thumb
below, and pull it almost clear of the
deck.
HR
The cut-out portion of this card can be hidden by the fingers on top and
thumb below as the gaffed card is drawn free of the deck. You are left with a
half-80 in the deck. If this card is sandwiched between two jokers, you can
l«R
get rid of it in the act of removing the jokers from the deck.

r»i -35-

i—<
 Martin Gardner

Saliva Card Rise

I’m not sure where I first saw the rising card trick using saliva, but I think it
was in Hugard’s Encyclopedia of Card Tricks. Anyway, the handling I use is
as follows.
Get some saliva on the tip of the right middle finger. Spread the cards for a
selection. After a card is taken, the tip of the middle finger rests naturally
against the underside of the card just above the spot where the selected
card was, and transfers the saliva to the bottom of this card, at the end
toward the spectator.
He replaces his card at the
same spot. Close the fan,
but allow his card to project
----------- >
halfway out of the deck.
Square the deck and press front •R

it firmly together.
Place the deck on the table.
You must kill a minute or so
to allow the saliva to dry. Do
this by removing your hand- R,

kerchief, and opening it, ex-

plaining that you want to
wrap it around the deck so opening «R

vour fingers cannot touch here for

the deck. pinkie
The hank is first folded in to enter
half. Wrap the cloth around
the lower end of the pack,
-36-
 the half of the deck where the card is not projecting.
Bring the sides of the cloth together in back of the deck. You can’t wrap the
deck securely all the way around, because the pinkie would have to push
thru the doth, and the motion of the cloth in front tips off the action. By wrap-
ping the cloth as described above, the cloth remains motionless._You can let
r-i the spectator see exactly how you are holding the deck, all four fingers on
one side, thumb on the other. Show him all sides.
As you square the deck and adjust the hank a bit, the left pinkie slips away
from the side and goes in back between the two sides of the wrap-around
cloth.
The face of the projecting card is toward the audience. Tap this card slowly
into the deck. Your left pinkie will feel the stuck card coming down. Wave the
right hand over the deck and slowly push up with the pinkie. I do this about
twice.
Then the climax. Repeatedly tap the card down quickly with the right fin-
gers, and instantly pop it up with the pinkie. Do this about three times. It is
l"1 very surprising.
With the card projecting, and the pinkie back on the side of the deck, tip the
deck so it is parallel with the floor, the card projecting forward. Grasp the
right comer of the face-down card and twist it to the right. This is important
because the twist breaks the saliva, and allows you to slowly draw the card
out of the deck and place it on the table. Of course everything can be ex-
amined because the saliva is completely dry by now.
It’s a fine trick for laymen.
(The above is from a Gardner letter dated 14 Mar 82. For an earlier des-
cription, check “The Saliva Plunger’ in Hugard's for January 1949. The
reader may wish to consult Fred Roberts’ “Simplicity Rising Cards” in the
PR February 1929 The Sphinx, for a related trick using wax instead of saliva.)

PR

-37-
 n

In ■

Joseph K. Schmidt
i

Houdini’s Getaway
I

(This is a different presentation for "Impromptu Haunted Deck” in The

Pallbearers Review, pg. 704, and makes use of a Kari Fulves reversal to
smoothly reverse a card. JKS)
"Books written by magicians about Houdini explained how they thought he
‘did it,’ but Houdini himself divulged nothing. He outwardly exposed fake
spirit mediums but was thought to be a true believer who received help from
the spirits when needed.
'This is what could have happened. Please name any card which has some
white space to write on. The ace of spades? Good! Here, I’ve written HOU-
DINI across its face so you can all see it.
"Now well lose it in the deck (double cut the top card to the bottom or back
of the face-up deck. Triple or quadruple cuts may be more confusing to the
onlookers. Follow with modified Hindu Shuffles without disturbing the face-
up card at the bottom).
"Wherever Houdini is present, he starts to make waves." Riffle the deck a
few times and adjust the face-up deck for the pull down move, but with the
inner left comer also pulled down in a sort of Greek Break position, Figure 1.
Figure 1-A shows that the left forefinger is positioned to keep pressure on
the front end of the cards so that what actually takes place is not exposed
283
during the following actions.

"■1

-38-
 The right hand grips the top half
from above and slides this group of
cards to the right. The packet is held
in this side-jogged position by the left
thumb.
This allows the right hand to turn
palm-down and grasp the side jog-
ged packet as in Figure 2.
The right hand turns palm upward
and inserts this half into the pull-
F>“l down opening, Figure 3 & 4.
The remaining half of the deck is
now turned face-down in the same
manner and placed on top. After this,
the deck is spread widely without
**
exposing the face-up card at the bot-
tom, then squared up in left hand
dealing grip, at the same time ob-
taining a left pinkie break above the
reversed card at the bottom.
l*t
(When the right hand slides its pac- y v-
ket into the break, Figure 3,1 will pull
the reversed AS back and square 1 *
with this backjogged packet, using
the right fingers. The face-down
packet stays backjogged. Then the
upper packet is cleanly lifted off,
turned over and dropped on top. Al-
I»!
ternatively, when Fig. 3 is reached,
the right 1 st finger kicks the upper
packet forward, and the right thumb
simultaneously slides the bottom
packet forward, until the reversed AS
f*l is square with the lower half. Then
the left 1 st finger levers the upper
packet up, where the right hand
takes it and turns it face-down on
too. KF)
-39-
‘‘Houdini is not about to perform in a simple manner. He must have some
sort of restraint." The right hand goes to the pocket, removes the rubber
band, displays it and drops it onto the table.
"We will now handcuff Harry.” Adjust the deck into pull-down position, with
the deck a little further to the rear of the hand for better cover. Insert your
right first two fingers into the rubber band and slide it over the deck from the
inner end, Figure 5; the band goes over the Houdini card, so this card is
free, but the rest of the deck is encircled. All ends up as in Figure 6.
"Houdini is ready for the challenge. He steps behind a curtain. There is
movement afoot." Cut the deck at about the midpoint. Move the cut portion
to the right, Figure 7. The left thumb holds the side-jogged packet as the *■<

right hand approaches the deck in a palm-down position, Figure 8, grips the
cut-off half and turns to a palm-up position, Figure 9.
"Houdini fails to show up." The audience sees that the face card of the up-
per half is not the Houdini card. "He has failed to make his escape.” Slide
the face-up half in the right hand under the half in the left hand, Figure 10.
Square up the deck and hold it tightly.
Place the deck on the table, Figure 11, with the open side toward you. Main- i
tain contact with the right forefinger to hold the deck securely to the table.,
"Having failed the first time, Houdini calls on the spirits for help." Place both
forefingers on the deck,Figure 12. Raise one hand and make gestures over
the deck, then repeat with the other hand. Finally place both forefingers on
the deck, wiggle the fingers, and suddenly raise both hands, allowing the i
deck to swivel and the Houdini card to suddenly appear, Figure 13.

*1

13

-40-
 audience
RR

i">

thin rubberband
(fits snugly around
middle of deck)

I",

' o

iw*

fW

5 ♦
1*1

fW|

fW*

12

-41-

<W*
 Encircled Addition "1
One could actually encircle the full deck with the rubber band, Fig. 1. (mak-
ing sure the bottom card is not flashed). The deck could be tossed into the
other hand rather forcedly, or dropped carelessly into the hand, Fig. 2. (or "I
into the spectator’s hand. KF). This could also be done with the reversed
card below the rubber band, like the coins concealed below the purse in
Modem Coin Magic.
With the reversed card inside the band, hold the band with thumb and 2nd
finger (and insure it is a little bit more to the outer end of deck rather than «■»

dead center). The classic color change grip frees the reversed card, Fig. 3
and 4. Then one would again drop or toss the deck into the left hand, Fig. 2,
where the fingers would immediately dose in on deck to make sure nothing •R

is exposed.

///

1*1

i
—

**

-42-
R
Karl Fulves Reverse
(This routine introduces the "Fulves Reversal" to smoothly reverse a card
while turning the deck face down in two steps. In the Braue Reversal, the
IR
deck was turned face up. Karl's method should become a standard one with
innumerable uses. JKS)

FR The deck is face-up in left hand dealing grip. You are holding a left 4th finger
break break above the bottom card. The right hand grips the top half from
above and slides this group of cards to the right. The packet is held in this
fR side-jogged condition by the left thumb.
This allows the right hand to turn palm-down and grasp the side jogged
IR packet as shown in Figure 2. The right hand turns palm upward and inserts
this packet into the pull-down opening as shown in Figure 3 & 4.
FR
As the right hand slides this packet into the break, pull the reversed card
back and square with the backjogged packet, using the right fingers, Fig. A.
IR
Then the upper packet is cleanly lifted off, turned over and dropped on top.
Alternatively, when Figure 3 is reached, the right 1st finger kicks the upper
IR packet forward, Figure B, and the right thumb simultaneously slides the bot-
tom packet forward until the reversed card is square with the lower half.

IR

IR

RI

RI

RI
(left hand not shown for clarity)
IR

-43-
FR
 Watch Bess
Spectator signs any card with an “H” to represent Houdini. That card is
shuffled into the deck. The four queens are used as stand-ins for his assis-
tants. Spectator picks one to represent Houdini’s wife Bess, say the QH.
The four queens are scattered about on the table. The deck is banded to
represent Houdini being locked in a trunk.
The banded deck is dropped onto the QH. Instantly that queen pops out of
the center of the deck. The tabled card that was the QH is turned over to re-
veal the signed Houdini card.
Method: Toss the 4 queens into a face up packet on the table. Have any
card chosen and signed on the face with an "H” to represent Houdini. Retain "n
the card- say the 4S- on top while apparently shuffling it into the deck.
Ask the spectator to indicate which queen will act as Bess. Say he picks the
QH. You hold the deck in left hand dealing grip with a 4th finger break under
the 4S. Gather the face-up queens with QH at the back. Drop onto deck,
then lift off all 5 cards above the break.
Left thumb pulls each queen off and levers each to a face-down condition
under the packet. Drop packet onto top of deck and deal top four cards to
random positions on the table. Top card of deck is QH.
Turn deck face-up. Do reverse move described earlier to cause QH to be
reversed under face-down deck. Snap rubber band around deck per the
Schmidt description. Hold deck from above. Circle over the four face-down
cards. Eventually drop deck onto card believed to be QH. The QH pops out
of center of deck face-up. Lift deck off tabled card. Turn over 3 queens, then
have spectator turn over other card to reveal transposition.
Can also do this as a trick where the tabled QH pops out of center of deck
without the transpo angle. Do not have a card chosen. Simply show four
queens, leaving chosen queen on top of deck. Other three are dealt as four
into tabled heap. At the finish, the chosen queen apparently leaves the table
and ends up reversed in the middle of the banded deck.
The QH can be a double card, so that after it leaves queen packet and ap-
pears from center of deck, it is removed,dropped on top, topmost card dealt
to table, deck put on top, then chosen queen caused to rise to top.
i-i
Karl Fulves
-44-
•R
 sKarl Fulves

Rising Issues
fw>

I"!

These are asides and unsolved problems related to rising card effects.
In tricks where there is a gimmick or small set-up like that in the Sid Lorraine
and Howard Wurst tricks detailed earlier, the deck can be shuffled in a con-
vincing way using a Frank Thompson idea.
p-t

The gimmick or prepared portion is

in the middle of the bottom half of the
deck. Cut the top half to the right.
Riffle the two halves together, but
when you approach the prepared
portion, drop that portion as a block,
gimmick
then resume the even riffle.
The result is that you shuffle around the gimmick per the drawing above.
After the shuffle, cut the prepared group of cards to the top, bottom or other
location as the method demands. The audience sees you give the cards a
legitimate shuffle and cut, an angle that adds to the fairness of the handling
and squelches the idea that a gimmick could possibly be in the deck.
To cause two half-cards to
rise, it is not required to put
them at opposite ends of the
deck. They can both be at
f”i
one end, Fig. A. To cause
each to rise, end riffle only
that card’s half of the deck,
Fig. B. The effect is then
repeated with no need to
reverse the deck end for end.

-45-
 n

RR

If a half-card (that is, half of a regular size playing card) is used to bring a- "R
bout a riffle rise ala Sid Lorraine’s “A Novel Card Discovery," one might want
to remove the entire card from the deck after the rise.
One method is as follows. Put, say, A
the 2C on the bottom of the deck, J
with a half-2C tom from a duplicate RR

card on top of it, then the rest of the

deck on top of all, Figure A. B□
•R

Hold the deck from above in the right

hand in readiness for the Hindu shuf-
fle. The left hand strips small packets ◄— half 2C ■R

off the top of the deck until stop is call-

ed. The right hand lifts its packet to
show the spectator the face card of
the right-hand packet. This is the force
card, the 2C.
As the right hand replaces its packet on top of the
left-hand packet, the right fingers backjog (or glide) •R

the face card, Figure B. Tilt the deck to a vertical

position. Riffle the upper end, causing the half-card
to jump out into view, Figure C.
c “1

Pull the half-card up just enough for it to click off the

downjogged 2C. This lines it up with the full-size 2C,
Figure D. Push the half-card into the deck as you
lower the deck to a horizontal position. As the audi-
ence sees the card emerge from the near end of the
deck, it appears that the 2S has increased in length.
Push back and forth, then disengage the two cards
and push the half-card square with the deck. The
full-size card still protrudes from the inner end. Fin-
ish by slowly pulling the full-size 2C out Toss it to the
table.
Presentation can be built around the ‘Tall Tale”
effect described earlier.
D
»R

-46- •R
RR

IR

I
Rise To The Right
IR Shown on this page are a variety of
ways that a card can be made to rise
from the deck. At the bottom of the
IR page is a ‘mixed motion’ unsolved
problem. A playing card rises as indi-
cated in Fig. A. It is pushed down into
ir
the cased deck, Figure B, whereupon
this same card then 'rises’ from the
side of the deck.
ir

i-,

ir

ir

IR A

IR

R
I
<

IR

(R

IR
BJ
-47-

IR
 -n

Mixed Motion
A card is chosen and returned to the deck. The
magician commands the card to rise. Nothing
happens. He turns the deck end for end. New
command. Nada. Deck banged on table. Polite
command issued. Zilch. He shakes deck.
Chosen card 'rises’ sideways, Figure A.
A '■ *R

Magician stares at deck, pushes card into

deck. The other end of the chosen card pokes
out the other side of the deck, Figure B. Some-
how the card has gotten turned around.
He pushes in from both sides. The card dis-
appears into the deck, but then instantly rises
up out of the deck, Figure C. The card is then
tossed to the spectator.
This is offered as an unsolved card problem. "R

In principle, a card can ‘rise’ sideways accord-

ing to the same technique that propels the /
card in the Sid Lorraine card rise. Achieving
the effect of Figure B is then a question of
linking two half-cards.
IB
*
The effect of Figure C can be viewed as a sep-
arate trick accomplished, say, by means of the
Devano rising card gimmick.
Then again, mayhap another approach to this
card problem yields a more efficient solution.

FR

-48-
"R
RR

sKarl Fulves

Trap Shoot
(Rl

f"»

V
PR

This might be termed a visual trap. Place the red deuces aside for the mo-
ment. Have a card chosen, signed and returned to the deck. Control it to the
PR
bottom of the pack. Encircle the deck with a rubber band, but use the pro-
cedure described in “Houdini’s Getaway,” pgs. 38 - 41.
PR
Hold the deck in left hand dealing grip. If the left thumb contacts the rubber
band at the left long edge, and the left middle finger contacts the rubber
RR
band at the right long edge, the hand can be turned palm down and then
palm up, showing that the chosen card is not at the face of the deck. This is
a ‘proving’ phase that is just a quick up and down motion. The deck is then
PR grasped in dealing grip.
Pick up one of the red deuces with the right hand. The left thumb riffles
PR along the left long side of the deck to a point just above the midpoint. Insert
the deuce into the front of the deck so it is outjogged.
The deuce is slid in until you feel
PR
tension from the rubber band.
Pick up the other red deuce with
PR
the right hand. The left little
finger opens a break a card or
PR
two below the midpoint (that is,
just below the opening created
by the crossed strands of
PR rubber band in the middle of the
deck). Push this card in until you
feel tension. The cards are
(“I jogged for about half their
length as shown in the
illustration.
PR

Toss or drop the deck onto the

-49-
 IR

table. Propelled by rubber band power, the deuces line up on the same end
of the deck. The chosen card is also propelled ■R

partway out of the deck, and at right angles to

the deuces. Pinch the three-card sandwich
between thumb and middle finger. Extract the —1

three cards from the deck as a unit. They will

be in the configuration shown at the right Ask

I
for the name of the chosen card. Turn over the
three cards as a unit and show that the red
deuces trapped the chosen card.
The trick need not be done with a chosen card.
It can be done with any named card. One
handling is as follows.
Have the spectator name a card. Say he names the 4D. Run thru the deck
and toss out the red deuces. In the process, locate the 4D and control it to
the bottom of the deck. Rubber band the deck so as to set up for the pop-
out effect On one deuce write FOUR. On the other write DIAMONDS (or
just the letter ‘D’).
Proceed with the handling of Trap Shoot At the finish extract the 3-card
sandwich from the deck and show that the deuces, like the Tracer of Lost
Persons, found their man.
Those familiar with other methods of producing any named card can direct
those techniques to the visual pop-out effect.

----------------------Card Rise Notes -----------------

The method of causing a card to rise by placing the 1 st finger on top of
the deck and secretly pressing against the top card with the 4th finger is
incorporated in the Michael Zens routine (The Sphinx, Oct 1917). Scame
said that the trick got a big response when performed by Zens. A slight
variation of the Zens trick can be found in Greater Magic (The Little An-
ger Rise”). Hilliard makes use of the Connie Bush offset packet idea to
return the just-risen card to the middle of the pack. See also David Price’s
“New Idea With Cards” (The Sphinx, June 1932) for a method of returning
the just-risen card to a break in the center of the deck to give the appear-
ance that the card rose from the center of the deck.

-50-
 rAriel Frailich

Resolution
PR

PR

r-i
(In the early 1980's a number of rising card effects were described. In a
letter of July 19,1995, Mr. Frailich provides the following approaches. KF)
f-i

[
Aviator Aces (from T. V. Card Rise): The effect seems simple. The four aces
are openly removed from the deck and placed in the card box. The spectator
names any ace. That ace rises out of the card box.

“As I’m toying with my Barbary Coast casino deck of cards, I’m reading the
l«R
Aviator Ace problem...The US Playing Card Co. obviously decided to save
money by not customizing the card cases for casino decks, so instead of
the logo which was always present on the cases, there is now a transparent
PR window. This obvious difference stuck in my mind and gave me an idea.
“Here are two possible solutions. Both versions require a card case with a
I—! window or the old gaffed case with a hole on the back, covered by a playing
card flap glued at one end. The gimmicked case definitely works for the first
solution. The second solution might be easier to do if one can see the cards
PR
as well as touch them:
I. Show the four aces, have the spectator name one, secretly get it to
the top of the packet while counting or whatever. Hold the case with the half-
PR

moon cut-out towards the audience and insert the aces into the case, faces
to the audience. Holding the case in the left hand at the lower left comer,
insert the thumb into the hole, contact the card and push up. Remove the
ace, dump the remainder on the table, done.
II. Hold the aces in known order (say SHCD from the top). Display
them in a fan in the left hand, then square them against the right fingers, so
IR that the long edges are parallel to the floor.

RP -51-
 RR

■R

With the left thumb, stagger the aces

toward the right, so that there are 3 minute
steps at the left edge of the packet Hold
the cards in the right hand as the left hand
picks up the case, flap toward the perform-
er, long side parallel to the floor as well.
Insert the left thumb into the hole so that RR

the tip of the nail touches the front surface

of the case, as far to the left as possible
(i.e., dosest to the bottom of the case). •R

Now insert the aces into the case until the first ace (in this case Dia-
monds) butts against the thumbnail. Ask for the name of the chosen ace;
what happens next depends on the named suit:
S: Push all the cards all the way into the case and continue as in the first
method.
H: Push the cards into the case until 2 cards dick past the left thumbnail.
C: Push the cards into the case until 1 card clicks past the left thumbnail. L
D: Push the cards into the case until all 4 butt against the thumbnail.
Rotate the case counter-clockwise so that the opening is up and hold it
above the audience’s line of vision, so that it won’t be too obvious that the
cards are not actually all the way in. It’ll also hide the fact that more than one
card is rising.
Repeat the name of the selected ace and gently move the thumb up,
pushing either 2,3, or 4 cards up. The thumbnail being tilted backwards
actually helps conceal the cards behind the named one.
Pause for a moment, then move the right hand over the ace(s), fingers
together and pointing down, thumb behind, to remove the ace from the
case. As soon as the aces are hidden and the fingers are touching the face
ace, the concealed cards are allowed to slip back into the case, noiselessly.
Pull out the ace, then dump the 3 remaining aces onto the table.

-52-
RR

I-
 "Notes: Perhaps it’s better to insert the aces with the backs to the audi-
ence.
f-» “Presumably, you could remove the risen ace, stagger the remaining
aces, and repeat the trick.
pr
I noticed that you also used the staggered aces idea in Cards Under
Glass, pg. 10, although I hadn’t read it at the time I dreamed up the above."
pr

After Tan (from Wireless): The effect is simple. The spectator peeks at a card.
pr [ Instantly that card rises from the center of the deck. ]
"Somewhere between ‘77 and 79, a young Dutch magician by the name of
Ger Copper did a North American lecture tour. He showed a card rise that’s
amazingly similar to the one you describe.

pr ‘The card is inserted from the front of the deck and angle-jogged while ap-
parently pushed flush. The lower end of the deck is then beveled so that the
bottom card is pretty much aligned with the angle-jogged card.
PR

'The deck is then held between right thumb and fingers but from the back
(in other words, the fingertips point toward the audience). Since the bevel
PR
conceals the angle-jogged
£•& card, it’s not too hard to push it up using the little
finger, which is also hidden (turn slightly to the right to hide the movement
even more).
f"l

“Ger showed us this trick after the lecture, if memory serves, so it’s not in his
PR
notes."

PR

PR

PR -53-

PR
 *1

Karl Fulves

Thot Lock
•R

A signed card from a red-backed deck pops out of a rubber-banded blue-

backed deck.
Snap a rubber band widthwise around a blue-
backed deck. Perform the twist move that
sets up the powered pop-out. Then snap a
rubber band around the deck the long way.
The lengthwise band is positioned slightly off
center, so that when this deck is in left-hand
dealing grip, the lengthwise rubber band is
offset slightly to the left.
The lengthwise band keeps the deck from untwisting, and also serves the
effect in the sense that the deck appears to be locked up on all sides. Case
the deck. (Because of the two rubber bands, it may be necessary to remove
some cards from the deck beforehand to make it easier to get the deck into
and out of the card case.)
Spread a red-backed deck face-up. Invite the spectator to remove any card.
He signs the back of the card. Drop the face-up card onto the face of the
deck. Use the Braue reverse to bring the deck to a face-down condition with
the signed card face-up at the bottom of the deck. Place the red-backed
deck on the table.
Predictions being what they are- indications of future events- they must be
kept under lock and key. As this line is delivered, remove the blue-backed
deck from its case. Grasp the deck from above with the right hand, thumb at
one long side, fingers at the other. Turn the hand palm up and then palm
down to show the deck banded all around.
Place the blue deck in left hand dealing grip. Curl the left first finger around
the front of the deck. The left 3rd and 4th fingers open a wide break at the
-54-
 right long side of the deck. The front end of the deck is tilted downward to
cover the break.
You’re going to pick up the red-backed deck and feed the bottom card into
1^
the break as shown schematically in the drawing below. The handling I use
is: Grasp the tabled red-backed deck from above, by the ends. Lift the deck
|WI
off the table. As you place it onto the top of the blue-backed deck, use the
action of the Ovette Master Move to feed the bottom card into the break.
Once the action begins, use the left fingers to pull this card completely into
the break and flush with the blue-backed deck. After this is done, dribble the
red-backed deck on top of the blue-backed deck. Remark, "In order to pro-
r-i duce the correct prediction, we have to scan the cards."
Lift the red-backed deck off with the right hand and place it on the table.
r—i Remove the lengthwise rubber band. Drop the blue-backed deck onto the
table. A duplicate of the chosen card pops out of the center of this deck.
r—l
Ask the spectator to locate his card in the red-backed deck to verify the
match. He can’t find it. “Do you think...?’
I“!
Remove the pop-out card from the other \
deck and turn it over
for the finish.

n-i

-55-
i—i

m
 n

Guiding a single card between two rubber-banded surfaces is not the eas-
iest task. If the intent is to perform the effect where a signed card from a
red-backed deck pops out of another deck, there are options:
A. Have the signed card returned to the red-backed deck and then
secretly brought to the top. Place the deck on the table. The blue-backed
deck is set so that a red-backed joker is ready to pop out of the rubber
banded deck. Take the blue-backed deck from the pocket, remove the rub-
L
i
ber band that runs lengthwise around the deck, and refer to this deck as a
thought finder. Drop the deck onto the top of the red-backed deck. Immed-
iately a card pops out of the center of the blue deck. Remove it, drop it onto
the top of the red deck, double lift and show the signed card. i •*'

B. Same trick, but you have four blue-backed packets distributed in

different pockets. Each is rigged to produce a different red-backed ace.
Have an ace chosen from the red-backed deck, signed in the center and
returned. Control to the top. Remove the appropriate blue-backed packet.
Drop onto the tabled red-backed deck. The chosen red-backed ace pops
out face-up. As you drag this ace out of the blue-backed packet, simultan-
eously turn it face down and drop it onto the red-backed deck. Double lift to
show the signature on the face.
C. Two cards pop out of the blue-backed packet. Their values are
added together. Spectator counts down that number in the red-backed
deck and finds the chosen card. The control I use is Riffle Shuffle Control;
simply outjog 15 cards, have one chosen from this group, and the chosen
card ends up 15th from the top of the deck. The blue-backed packet is
rigged to cause any 7 and 8 to pivot out of the deck. Explain that this packet
scans the deck via long distance radar, figures out the location of the signed
card, and produces coordinates that pinpoint the card’s location.

-------------------- Card Rise Notes -----------------

J. W. Sarles did a card rise in which a card was chosen and returned to a
pack and the pack cased. This deck of cards was placed on top of anoth-
er cased deck. On command the cased decks would spring to life, sliding
over one another. The chosen card would emerge from between the two
card cases. The secret was of course the Al Baker method (Pet Secrets),
the change being that the chosen card was secretly placed outside the
card case as the deck was inserted into the case. The movement of the
card case, itself a strange sight, was then capped by the emergence of
the selected card.
-56-
 I

Karl Fulves

f»n Interceptor
A playing card jumps out of a red-backed deck into the center of a blue-
I™, backed deck, ending up between two previously chosen signed cards. No
gimmicks, no sleights.
r»i Secretly place any red-backed card second from the top of a blue-backed
deck. Retain the card in place during shuffles and cuts. Spread the deck
face-up and have two cards chosen. Ask each spectator to sign the face of
1*1
his card.
Cut the deck at about the center and complete the cut. Fan the deck with
1—1
the faces toward the audience. The red back is plainly visible to you. Insert
the signed cards on either side of the stranger card. Close the fan and push
the two cards square with the deck. Because the plunger principle is at
work, the stranger card will end up slightly downjogged.
Place the deck in left-hand dealing grip. As you square the deck, obtain a
break under the stranger card. Cut or double cut to the break, bringing the
stranger card to the bottom of the deck.
r«i
A rubber band is removed from the pocket and snapped around the deck.
Use the handling of “Houdini’s Getaway" (pg. 41, drawings 5 thru 10) to rig
r»> the deck so the stranger card is ready to pivot or jump out of the deck. Hold
this deck in the left hand, thumb on top, fingers below. If you grip the deck at
the long sides, you can show the deck all around. It looks like a securely
i—i
rubber-banded deck.
With the right hand remove a red-backed deck from the pocket Grip this
r*i
deck by the ends in the right hand, thumb at the upper end, fingers at the
lower, in preparation to spring or cascade the cards into the air. Explain that
r”.
the ace of spades (or whatever card is in the other pack) is trained to find
chosen cards.

-57-
 "I

Spring the cards out of the right hand. As they cascade into the air, drop the
blue-backed deck into the shower of cards. As soon as the blue-backed ■
deck has been released, the red-backed card will pop out of this pack.
When properly done, it looks as if a single card from the red-backed deck
did indeed find its way into the center of the blue-backed deck.
Remove the rubber band from the blue-backed deck. Allow a spectator to
remove the protruding red-backed card and the blue-backed card on either
side of it. These two cards are turned over and the signatures verified.
When "Impromptu Haunted Deck” appeared in The Pallbearers Review (on
page 704), I had included a handling that emulated the effect of the toss-in
stab. At the time I wanted to open up the effect, making it more of a stand-
up card trick suitable for larger audiences. The above is one such handling.
Although there are no sleights, there is one important (in fact, vital) ingred-
ient; as shown in the drawing below, the cascade of cards must be started
before the blue-backed deck is released. The blue-backed deck must fall
into the shower of cards for the illusion to work. ",

The blue-backed deck should be caught before it reaches the table. You
then proceed with the ride-out.

-58-
 r

PR

s-Karl Fulves ----------------

l*R
Subternatural
x. y

f-i
This is a card rise designed for ultra close-up performance. The deck re-
mains stationary, as does the hand holding the deck. The card rises from
the center of the deck. The spectator can take the deck out of your hand
f".
and verify that the card really has moved up and out of the center.

PR
It is impromptu. Pick up any borrowed deck and do the card rise that instant
A card can be peeked or merely named. With deck in new-deck order, the
named card rises from its original location in the pack. No gimmicks, no arm
PR waving, no cover, nothing added, always ready to go.
Method: The simplest handling will be described first. Spread the deck,
r»i have a card chosen and replaced in the center. As the upper half is
replaced, slide the little finger between the halves, Figure 1.
PR
The left hand grip is important The
deck is gripped at the extreme up-
per end between thumb and first
PR
finger. Though it sounds odd to say
it, the higher the position of the left
PR
thumb, the higher the card will rise
out of the pack.
Figure 1 indicates the only bad an-
gle in the handling; the m.o. can be
seen from the back. I don’t know
PR why a spectator would want to
stand at such an angle to view a
card trick, but if the guy is there, do
some other trick.
-59-

PR
 "I

Hold the deck with the face of the deck to the audience, Figure 2. The
right thumb contacts the right 2nd and 3rd fingers as shown in Figure 3, as if
you were going to snap the fingers.

■R

Press the back of the right fingers against the left thumb as indicated in
Figure 4. It is only at this point (and not before) that the right 4th finger slips
into the break. Figure 4 shows the position of the hands as this secret action
is done. Perform this before a mirror to see how well concealed the action is
from the front
Snap the fingers.The right -R
4th finger contacts the back
of the chosen card. Raise the
right hand. The chosen card ■R

rises straight up out of the

center of the deck. Catch
the card between the right
thumb and 1st finger, but
continue the upward mo-
tion as if the card was going
to rise to the ceiling.
-60-
I—f Notes
(A) The contact of the right 4th finger against the back of the chosen card
must be firm. If your hands are normally dry, make sure you moisten them
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before performing this trick. The distance the card rises is determined by
the distance the right little finger is able to move. This means that the 4th
finger should start at the bottom of the deck. It can move up from there to a
F-l
point where it hits against the left thumb. Therefore, the left thumb should
be as high up on the deck as possible.
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(B) The effect can be done as a ‘hidden’ card
rise. The spectator names a card. She inserts
(-1 two jokers into the deck in an upjogged con-
dition. The magician snaps his fingers in the
vicinity of the cards. The spectator removes the
rw> upjogged cards. There are now three cards
and the center card is the one named. To the
audience, this is not a rising card effect, but
Ft rather one where a named card materialized
between two other cards.
(C) Tony Bartolotta once made a slim model Devano rising card gimmick.
This allowed for the following effect. Two cards are chosen and removed
f"1
from the deck. They are replaced at different points in the deck. The per-
former cuts the deck into two packets. The method for “Subtematural” is
used to cause one card to rise. The spectator is handed the packet and is
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asked to remove the card. This underlines the point that the cards are ord-
inary. The performer picks up the other half-deck. The audience is looking
more closely now, but it is here that you use the Devano gimmick to cause
the other card to rise from the center of its packet.
(D) This is an unsolved card problem. With X
two packets in the offset condition shown here, 5
cause the face card of the backmost packet to
rise. In other words, the 5-spot would rise. It can
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be done via interlock + waxed card, but some- A
thing closer to an impromptu handling is the
goal.

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 i
n

(E) I’ve been doing this effect since the early 1960’s. The starting point
was the impromptu card rise in The Card Magic of LePaul, an excellent
method virtually unknown among magicians. In the LePaul trick, the chosen
card rises from the back of the deck. If you use the LePaul handling in the
context of a packet trick, in which, say, any named royal flush card appears
to rise out of a poker hand, it looks like the card really does rise from ttie. !
center of the packet.
A somewhat similar handling can be used to cause a card to rise out of a
card box. The side of the box (not the back) must be cut away. The audi-
ence does see the card box front and back: It can even be given to a spec-
tator to hold for a moment. Take back the box. Cards are dropped inside
and immediately one rises into view.
By the same means, a business card or a dollar bill can be made to rise
from the center of the deck
Once the basic handling of “Subtematural" becomes familiar, the reader
can perform the same card rise from the peek. I have also used this basic1
handling as the method of propulsion for the plunger card rise. The set-up is
the one described in the title trick of Wireless II (1982).

Catalog available on request

Karl Fulves - Box 433 - Teaneck NJ 07666 - USA
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