75 TRUCOS con la baraja biselada.pdf

8/11/2019 75 TRUCOS con la baraja biselada.pdf

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75 TRUCOScon una

BARAJA BISELADACompilado y Editado por

AL STEVENSON

2 Edicin * Completamente RevisadaWIZARD BOOKS

22-14 FORTIETH AVENUELONG-ISLAND CITY 1

NEW YORK

Copyright 1962 by WIZARD BOOKS

Traduccin Felipe Guevara


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Amis amigos de THE WIZARD'S SHOP

Quienes han adquirido esta Baraja mgica y estn ansiosospor realizar los efectos

Presentados en este libro.


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PREFACIO DE LA SEGUNDA EDICIN

La primera edicin de este folleto se public en 1957 dejandose de imprimir por algn tiempo.Varios amigos, incluso los distribuidores mgicos, me han instado que lo re-imprima. Sin embargo, yo

senta que la versin original de la publicacin poda mejorarse, por lo que he revisado los manuscritosoriginales, desechando algunos efectos para dar lugar a otros nuevos.

Espero sinceramente que mis esfuerzos darn muchas horas de placer a aquellos que gustan de losjuegos de naipes, pero no tienen el tiempo ni la paciencia que exigen la prctica de dificultosos pases de manos.Pero: ha llegado la baraja Biselada! Una vez que aprendas bien su manejo, podrs encontrar el tiempo y lapaciencia necesaria y, combinada con habilidad, la baraja biselada har posible hacer milagros por t.

ALWYN STENSONNueva York, 1962,


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INTRODUCCIN

En opinin del autor, una de las piezas ms olvidadas del aparataje mgico ha sido la baraja biselada o"STRIPPER Deck" (en ingls). Propiamente usada, esta baraja puede dar la impresin de milagrosos pases de

manos y, lo que es ms importante, bien utilizada, jams se pensar que est trucada.

El principio de la baraja biselada no es muy conocido por la mayoria de los magos, a pesar de que estabaraja es bastante antigua. Se ha dicho muchas veces que usar la baraja biselada es una "estafa", pero la barajabiselada puede ponerse en la misma categora que la carta corta, baraja de forzaje, etc. Cartas trucadas, e inclusopaquetes enteros trucados han sido utilizados por muchos cartomagos. Pero este es el resultado final, laCreacin de un Misterio, eso es lo que cuenta. Los medios para conseguir esta finalidad son insignificantes.

Este manuscrito se ha realizado con el expreso propsito de hacer que aquellos que huyen de la barajabiselada, o quienes no estn conscientes de sus posibilidades, vean con hechos, o se den cuenta por ellosmismos, que con el buen manejo de la baraja biselada pueden obtener grandes xitos y aplausos ante el pblicoque se presenten.

La baraja biselada tiene muchas otros usos a parte de la localizacin de una carta o un grupo de naipesy en las pginas siguientes te demostrar eso, podrs hacer efectos jams soados en cartomagia, creandoefectos imposibles de hacer solo con habilidad manual. Coge cualquier pgina de este libro, lee cualquiera delos numerosos efectos, y date a ti mismo una placentera sorpresa. La baraja biselada es una "herramienta"mgica, y el uso apropiado de esta herramienta es el propsito de este libro.


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LA BARAJA BISELADA

El principio de la baraja biselada es simplemente uno: Uno de los extremos de la baraja es ms delgadoque el otro. Por consiguiente, con todas los naipes en una direccin y una carta invertida en el paquete, la cartainvertida ser localizada fcilmente ya que el extremo ancho del naipe se encontrar hacia el lado estrecho delpaquete, y sobresalir de ste.

Un corte de la baraja no necesita prctica. El estrechamiento debe ser ligero y tan gradual que inclusoel propio presentador deba apreciarlo de muy de cerca con la vista. Puedes, sin embargo, usar un corte normal al

iniciarte en los misterios de la baraja biselada, luego con ms prctica podrsrealizar cortes ms finos. Tu xito con la baraja biselada depende nicamente detu manejo del paquete, una naturalidad al trabajar con l. Debes poder localizarnaipes fcil y rpidamente en el paquete, tal como si se tratase de un paquetenormal de cartas.

No desplaces tus dedos a lo largo del borde de la baraja para detectarlos naipes invertidos; slo toca ligeramente los lados de la baraja en ambos

extremos. Tus manos estn siendo vigiladas constantemente. Tantear los bordesde la baraja dar pistas a los espectadores; es un movimiento antinatural ydespertar sospechas.

Cuando una carta se ha seleccionado la baraja debe ser invertida, perola inversin no debe ser obvia. Abanicando la baraja y cerrndola es la manerams prctica de invertir la baraja. Sostn la baraja boca abajo en tu manoizquierda, pulgar sobre la baraja, los dems dedos abajo. El dedo ndice derecho

se ubica sobre la mano izquierda a un lado del paquete, movindose de izquierda a derecha, y extiende las cartasen un abanico. Una carta es seleccionada, el dedo ndice derecho cierra el abanico de izquierda a derechainvirtiendo la baraja. La carta seleccionada es devuelta en la baraja y puede localizarse cuando se desee.Nota: en las pginas siguientes, el trmino "invertir" se usar para sealar el giro de una carta (o la baraja)extremo por extremo.

Para obtener eficiencia con la baraja biselada es muy importante que desarrolles facilidad en el manejode la baraja. Practica, abre y cierra abanicos de cartas, y localiza una o ms cartas invertidas en la baraja.

Maneja el paquete con soltura. No necesitas dedos supersensitivospara manejar la baraja. Es ms fcillocalizar un naipe usando un toque ligero en lugar de apretar los lados de la baraja. Si sacar una carta invertidade la baraja te parece obvio al principio, localiza la carta o las cartas en tu espalda. Esto, de hecho, agregamisterio en la medida que el espectador est interesado.

En el futuro logrars la habilidad para localizar una o ms cartas completamente a la vista delespectador y situarlas sobre o bajo la baraja sin ser notado.

Toma el hbito de mirar directamente al espectador al localizar una carta. En el segundo que el dirige

la mirada hacia t puedes localizar la carta y ponerla sobre la baraja.Una pequea historia con cada efecto es apropiado para intensificar la misdirection. Toma una mediadocena de los efectos de este libro, prubalos con alguien. No slo lo sorprenders, te sorprenders.


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#1

LA COINCIDENCIAToma una carta seleccionada y (sin que nadie vea su cara) haz firmar el dorso con las iniciales de un espectador.

Invierte la baraja e inserta la carta. Mezcla la baraja y ponla boca abajo en la meza. Corta por la carta invertida (que staquede en la parte de abajo del corte), toma ese paquete gralo cara arriba y pide al espectador que firme la carta que muestrasu cara. El no sabe, por su puesto, que es la misma que l firm con sus iniciales en un principio. Baraja de nuevo. Localizala carta de la forma que desees, muestra entonces la coincidencia asombrosa de que el espectador firm la misma carta dosveces.

#2LA CUENTA PERFECTA

Inviere la carta numero 26 en el paquete. Comenta a los espectadores que, a travs de aos de experiencia, hasdearrollado la habilidad de saber la cantidad de naipes de cualquier paquete por su grosor. Corta la baraja por la tarjetainvertida y da el paquete que has quitado a un espectador diciendo que ese montn es exactamente la mitad de la baraja.

#3LA MEZCLA DE ARREGLO

Muchos efectos son posibles con un pre-arreglo de la baraja. Naturalmente, no puedes ofrecer una baraja ordenadapara que sea mezclada. Sin embargo, si tienes un juego con la baraja biselada arreglada con un cierto orden, simplementeinvierte la mitad del paquete en la caja de la baraja. Cuando ests listo para realizar el juego, saca la baraja de la caja, cortala mitad y da ambos montones a mezclar una vez a la americana, toma entonces la baraja y separa las cartas invertidas.Tendrs la estructuracin ahora en dos paquetes. pon los dos paquetes juntos en el orden apropiado y la baraja estnuevamente en el preordenamiento original.

#4MILAGRO MEZCLA ARRIBA

Divide la baraja en dos montones iguales, invierte un montn y pon los dos montones cara a cara. Ahora, barajacompletamente el mazo. Lleva la baraja a tu espalda, separa las invertidas, gira la mitad de encima sobre la otra mitad, y traela baraja delante. Extiende las cartas en cinta y muestra que todas las cartas estn boca abajo. (O boca arriba, segn como lasmuestres).

#5PARES E IMPARES

De antemano ten la baraja separada en dos montones, en un montn ten todos los nmeros impares, en el otro

todos los nmeros pares. Invierte un montn y baraja normalmente. Despus de barajar, separa las cartas invertidas en tuespalda y muestra luego que has separado los nmeros pares de los impares.

#6UN FORZAJE SIMPLE

Ten la carta que quieres forzar invertida al final de la baraja. Mezcla, pon la baraja boca abajo en la mesa y porcasualidad corta por la carta invertida. Mustrasela al espectador. No debes dar la impresin de cortar por una cartadeterminada, debe parecer un corte casual.

#7LA MANO DE POKER

Ten un escala real invertida en la baraja. Mezcla y lleva la escala sobre la baraja. Reparte cinco manos de poker an

la mesa (cinco cartas a cada uno). Recoge cada mano, mustralas brevemente, sin cambiar el orden, y pone cada mana sobrela baraja.


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#15UNA RARA INVERSIN

Toma todas las cartas de una pinta (picas, por ejemplo), invirtelas, insrtalas en la baraja, mezcla completamentey pon la baraja en su caja.

. Cuando vas a realizar el juego, saca el paquete de tu bolsillo y ofrcelo para barajarlo. Mientras la baraja estsiendo mezclada, di que el nmero trece es t numero de la suerte y hars un experimento con este nmero. Toma la barajadel espectador y llvala a tu espalda. No saques las trece picas, gralos encima e insrtalos en el paquete boca abajo. Trae labaraja delante, boca arriba; extiende la baraja y muestra que hay trece cartas giradas, juntas, boca abajo, una coincidencianotable. Ahora, cuadrado la baraja extiende las tarjetas y otra coincidencia ha ocurrido: las trece cartas son todas las picas!

#16LA BARAJA APUALADA

ste es un efecto notable y nunca falla el misterio. Ten una cartaseleccionada e insrtala nuevamente invertida dentro de la baraja. Muestra unaservilleta de papel ordinaria. Envuelve la baraja en la servilleta pero, cuandocomienzas a envolverla, saca ligeramente de la baraja.-un centmetro aprox.

Sostn la baraja firmemente cuando envuelves para que la carta

sobresaliente no resbale atrs en el manejo de la baraja.Cuando la baraja est envuelta, plega los extremos de la servilletahacia abajo y nuevamente se cuidadoso en no mover la carta sobresaliente.Sostn la baraja envuelta boca arriba en tu mano derecha y, con la izquierda,empuja la punta de un cuchillo en la servilleta al final de la baraja donde la cartaest sobresaliendo. Coloca el cuchillo dentro de la servilleta en forma oblicua,hacia abajo, para que la punta del cuchillo tope con la carta sobresaliente; entonces nivela el cuchillo y empjalo haciadentro. La hoja del cuchillo est ahora descansando en la tarjeta seleccionada. Empuja el cuchillo en la baraja por el mangoy empuja al mismo tiempo la carta sobresaliente para emparejarla con las dems. Pregunta el nombre de la cartaseleccionada. Deja el cuchillo en el lugar y rompe la servilleta mostrando que el cuchillo descansa en la carta seleccionada.ste no es un efecto para realizarlo apresuradamente. Haz de este efecto una cosa grandiosa, dando emocin al mostrar queel cuchillo descansa sobre la carta seleccionada!. Hazlo lentamente.

#17LOS ASES DEL JUGADOR

Ten los cuatro ases invertidos en la baraja.. Di a todos los que te estn viendo que no es muy inteligente jugar a lascartas con un extrao. Baraja las cartas, ponlas boca abajo y corta por un as. No muestres el as pero qutalo del paquete yponlo boca abajo a un lado. Haz esto tres ms veces hasta que hayas cortado y hayas quitado todos los ases. Vuelve lascartas boca arriba y muestra que cortaste un as cada vez.

#18LA CUENTA DEL DEDO PULGAR

Comenta que tienes dedos supersensitivos, y puedes contar cartas mientras pasas el dedo pulgar por ellas. Deantemano, ten la decimoquinta carta invertida en la baraja. Se cuidadoso en hacer el riffle en la esquina de la baraja por

donde sobresale la carta. Rifflea esta esquina una o dos veces, corta la baraja por la carta invertida y dale el paquete alespectador a ser contado. Por su puesto, has dicho de antemano cuantas cartas ibas a cortar.

#19FUERA DEL SOMBRERO

La carta seleccionada debes llevarla sobre la baraja. Pide prestado un sombrero de fieltro, pliega las alas delsombrero y sostenlo en alto. Deja caer la baraja en el sombrero, la baraja en una orilla del sombrero, la carta seleccionada enla otra orilla. Da un golpe seco debajo del sombrero con un dedo, justo por donde est la carta. Saltar fuera del sombrero.

#20TODOS LA LLAMAN

Ten una carta invertida en la baraja, el Rey de Picas, por ejemplo. Baraja, corta por el rey y mustrasela a una

persona presente. Baraja nuevamente, y haz lo mismo a otra persona. Haz esto unas cuatro veces, cada vez mostrando lamisma carta, pero sin permitir que los cuatro espectadores sepan que han mirado la misma carta. Dile a los cuatroespectadores que nombren su carta a la cuenta de tres. Ellos se sentirn bastante tontos cuando todos llamen al "Rey de


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Contina hasta que hayas sacado fuera las tres cartas que tienes "en la prediccin." Pdele al espectador que tiene laprediccin que la lea en voz alta. Gira las tres cartas lentamente sobre la mesa. Da un momento de dramatismo, y nmbralas,demostrando que tus poderes clarividentes son reales.

NOTA: Al poner la baraja en el bolsillo asegrate que el extremo por donde sobresalen las tres cartas quede

hacia arriba.

#27LA CAJA TRUCADA

En un Viejo efecto usando la baraja biselada, la caja de la baraja se adelgaza, lijndola a cada lado, cerca delfondo. Cuando la baraja, con las parte sobresaliente de las cartas, es insertada en la caja, los dedos pueden sentir las cartasinvertidas a travs de los lados delgados alijados de la caja. Sujeta el extremo abierto y puedes hacer salir las cartas exceptolas invertidas.

#28GIRO REVELADOR

LLeva la tarjeta invertida sobre la baraja. Empuja la carta de encima para que sobresalga un medio centmetrohacia el lado de la baraja. Suelta la baraja desde unos 15 cms. sobre la mesa. La carta de encima se voltear, debido al aire

que golpea la parte sobresaliente del naipe.

#29CUALQUIER CARTA O CUALQUIER PINTA

Antes de tu actuacin, saque cualquier pinta completa -por ej. Corazones- fuera de la baraja. Ponelos en orden deas a rey, invierte el paquete, vulvelo a poner sobre la baraja y pone la baraja en su caja. Cuando empieces a realizar eljuego, di que tienes una afinidad por los corazones y te gustara demostrarlo.

Saca la baraja de su caja y mezcla una vez. Pon la baraja en tu espalda y pide que te nombren cualquier carta decorazones. Mientras esperas por la seleccin, saca y lleva arriba el paquete invertido de corazones, que estar en orden. Serfcil contar hasta la carta que te indiquen, demostrando as tu "afinidad" por los corazones.

Dependiendo de tu memoria -y habilidad - puedes repetir el juego con otras cartas. Pero nunca hagas ms de tres.Uno podra ser un accidente, dos podran ser coincidencia, tres son prueba incontrovertible, cuatro son fastidio.

#30USANDO UN SOCIO

Muchos aparentes milagros con los naipes pueden lograrse con el uso de un ayudante que, mientras ests lejos delcuarto, pueda y sepa manejar la baraja para que realices verdaderos e imposibles milagros. Puedes no ver, y tu socio tomar lacarta seleccionada e invertirla en la baraja. Puedes tomara las cartas entonces y puedes encontrar la carta seleccionada. Esimportante que nadie sepa que ests trabajando con un ayudante. Informa a alguien en el pblico de como manejar la baraja.No hagas demasiado uso del ayudante.

#31AS , LA VIA DIFCIL

Invierte un as en la baraja. Ten la baraja mezclada y ponla en la mesa boca abajo. Pon una seda encima de de labaraja y corta a travs de la seda para mostrar el as.

#32UN PEQUEO TRUCO

Esta es una pequea comedia que siembre consigue una buena sonrisa. Ocasionalmente localiza la carta elegida ydi, "Por favor, no olvides tu carta mientras mezclo". Al mismo tiempo que hablas, muestra la carta cortando por ella y siguecon el efecto que tenas planeado.

#33QU BOLSILLO?

Ten una carta seleccionada y invirtela en la baraja. Mezcla. Pdele a un espectador que vace los bolsillosizquierdo y derecho de su chaqueta. Deja caer la baraja en el bolsillo izquierdo asegurndote que la parte sobresaliente de lacarta quede hacia arriba. Saca la mitad de la baraja y ponla en el bolsillo derecho del espectador y asegrate que la cartainvertida quede en el izquierdo. Ahora pide al espectador que elija un bolsillo, derecho o izquierdo... Si l dice "el derecho,"

le dices que deseche la porcin de la baraja de su bolsillo derecho y mete la mano en la izquierda y quitas la cartaseleccionada.


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#34EN TRIPLICADO

Ten una carta seleccionada. Pdele a un espectador que escriba sus iniciales en la parte de atrs de la carta. Inviertela baraja e inserta la carta. Mezcla la baraja, lleva la carta seleccionada al fondo y rpidamente vuelve la baraja boca abajoen tu mano derecha. Sostn la baraja con cuatro dedos por debajo y el pulgar por encima. . Los dedos tiran hacia atrs la

carta del fondo (la firmada). Pregntale al espectador cual es su nombre. Comienza a deletrear su nombre, sacando cartas delfondo de la forma de carta corrida. Siempre sacas una carta sin sacar la del fondo realmente. Cuando pronuncies la ltimaletra de su nombre; saca la carta que has estado reteniendo, vulvela encima y muestra que es la firmada por el espectador.

#35El TRECE DE LA SUERTE

De antemano ten todas las cartas de picas invertidas en la porcin ms baja de la baraja. Pide que seleccionen unacarta de la mitad superir de la baraja, invierte la baraja e inserta la carta. Comenta a los espectadores que tienes una pinta dela suerte: las picas y tambin tienes un nmero de la suerte: trece. Mezcla la baraja, ponla en tu espalda y di que usars tupinta y numero de la suerte para encontrar la carta seleccionada. LLeva todas las cartas invertidas bajo la baraja. Cuentalasen la mesa, boca abajo. Habr catorce cartas. Giralas boca arriba. El espectador ver las trece picas y la carta que lseleccion.

#36DOS ASES NEGROS

Este truco consiste en una simple ordenacin de las 18 cartas superiores. De arriba hacia abajo la ordenacin escomo sigue: un seis, 5 cartas indiferentes, un as negro, cualquier diez, nueve cartas indiferentes, y el otro as negro. Estas 18cartas superiores estn invertidas. Dgales a los espectadores que usted localizar los dos ases negros de una maneraespecial. Saca el paquete de su caja, mezcla una vez, boca abajo, y lleva las 18 cartas sobre la baraja. Muestre la cartasuperior, el "seis." Cuenta boca abajo y gira la sexta carta. Ser el primer as. Muestre la prxima carta, el "diez." Cuenta dieznaipes, gira el dcimo y muestra el segundo as.

#37El 7 DE LA SUERTE

Ten la baraja en el bolsillo con el 7 de picas invertido. Habla acerca de que el 7 es un nmero mstico en magia.Recalca que las picas son tu pinta de la suerte, y saca cartas fuera de tu bolsillo, una por cada letra de la palabra. Cuendosaques las cartas, deletrea " S-I-E-T-E D-E P-I-C-A-S", y al llegar a la ltima letra saca el 7 de picas. Pon boca abajo lascartas en la mesa. Saque el resto del mazo de su bolsillo y pngalo a un lado. Recoja las cartas deletreadas boca abajo ymezclelas. El 7 todava est invertido. Ponga este paquete pequeo en su bolsillo. Una vez ms deletree "Siete de Picas."Nuevamente la ltima carta deletreada es el 7 de picas. Vulvalo boca arriba cuando lo saque de su bolsillo.

#38REYES Y REINAS

De antemano, pon a los cuatro reyes encima de la baraja. Para empezar tu actuacin, quita las cuatro reinas yinvierte la baraja. Habla acerca de que las cuatro damas queran encontrar pareja para un baile y visitaron un a oficina deparejas (la baraja). Inserte a las reinas al azar en la baraja y mezcle completamente pero asegurndose que los cuatro reyespermanezcan sobre la baraja. Lleve a las reinas sobre la baraja (aprovechndose del bisel). sauqe de arriba ocho cartas (losreyes y las reinas), y cudrelas. Sostenga el paquete boca abajo en una mano, el dedo pulgar sobre la carta de arriba, y losotros 4 dedos bajo el paquete. Ahora, con una peque apresin de los dedos, lance las cartas de un mano a otra, reteniendouna carta de arriba y otra de abajo, juntas, coloquelas en la mesa sin mostrarlas. Haga esto tres veces dejando 1 o 2 cms. de

espacio entre las parejas. Cuando tenga solo 2 cartas en su mano, muestrelas mostrando que una dama a encontrado supareja. Enseguida, vuelva las parejas de la mesa, una a una, mostrando que todas las damas han encontrado su pareja. Siusted ha seguido las instrucciones correctamente, debe tener las cuatro reinas apareadas con los reyes.

#39EL AS PERDIDO

State that the aces have an affinity for each other-which you will prove. Run through the deck, remove the fouraces and place them face up on your table. Ask a spectator to choose any one of the aces and insert it back into the deck

(which -as yon patter- yon have reversed). Shuffle. Tell the spectator that the other three aces are going to find the lost one.Pick up the three tabled aces, insert them in the deck and shuffle. Now strip the four aces to the top, cut the deck andcomplete the cut. Spread the deck face op and show the four aces are together.


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#40

THE EYES HAVE IT

Have a card selected and pot hack into the reversed deck. Shuffle the deck and, if possible, control the reversedcard to eighth or tenth from the top. However, it is not absolutely essential that the selected card be near the top; but theeffect will be more of a "quickie" if the selected card is in the uppermost portion of the deck. Hold the deck face down in

your right hand, with the protruding edge of reversed cardforward. The right thumb and middle finger tips gently touchingboth forward sides of the deck and feeling the protruding, selected card. Tell the spectators that their eyes will give themaway on this one. Remove the top card from the face-down pack and hold it face towards the spectators. Tell them not togive any sign when they see their card. Remove cards from the top of the deck, one at a time. Your right thumb and middlefinger tips will tell you when you are showing the selected card. Stop there, look intently at the spectators' eyes (as you havebeen doing with all previously shown cards), then declare that they did give themselves away and the card you are nowholding is the selected card.

#41FINGERPRINTS

Fan the deck and have a red card selected. Reverse the deck and have the red card replaced. Ask the spectator topick a blackcard and reverse the deck again before the card is replaced. Now, shuffle the deck, give it to him, and tell him toremove one of the two selected cards, either the black or the red. He is to do this with his back towards you. Take the deck

back, strip the one reversed card to the top. Fan the deck face towards you and talk about looking for fingerprints. Naturally,you will see the color of the top card. You then name the color he removed, the opposite color to the top card.

#42FACE UP OR FACE DOWN

Have a card selected. Reverse the pack and have the card returned to the pack. Hold the deck behind your back, re-move the selected card and replace it in the deck, but turned over. Ask the spectator if he would like his card face up or facedown. If he says, "face up," bring the deck forward and spread it on the table with all the cards face down. If he says hewants the selected card face down, spread the deck face up. Either way his selection shows up immediately as you haveturned the selected card with its face in the opposite direction to the rest of the deck.

#43MATHEMAGICAL

Reverse any twenty cards in the deck. Shuffle. Strip the twenty to the top of the deck. Hand the deck, face down,to a spectator and ask him to count off as many cards as he wishes, up to 20, and put them in his pocket. Shuffle the deckagain, place it behind your back and strip out the remaining reversed cards. Count these cards behind your back, subtract thenumber thus obtained from twenty. Announce the result. It shouldbe the number of cards the spectator has in his pocket.

#44COLOR TELEPATHY

In advance, separate the red and black cards, reverse all the cards of one color and shuffle the entire deck together.Place the deck in its case. To perform, remove the deck from the case and have it thoroughly shuffled. Then, quickly, stripthe whole deck so that you have the top half entirely one color and the bottom half the other. Hold the deck face down andspread out the tophalf of the deck for two cards to be selected. Riffle the deck and ask that the two cards be returned, butmake once the two cards are placed in the bottomhalf of the deck. Break the deck at the reversed cards, hand one half of the

deck to a spectator to shuffle. You shuffle the other half. If the cards are red, they will be in the black part of the deck. Afterboth halves have been shuffled, place them together, fan the deck face toward you, and look over the cards. Ask thespectator to concentrate on the two cards he selected. You will be able to locate them because they are the opposite color ofthe cards on each side of them. Do this effect slowly to give the impression of great concentration on your part.

#45PURELY MENTAL

This mental effect with the stripper is a stunner. It is easy in execution and baffling to the layman. Have the top three cardsreversed on top of the face-down deck. Let us say that they are the King of Hearts, the Ace of Clubs, and the Three ofDiamonds. Display the top three cards fanned in your hand and ask a spectator to concentrate on one of them. Do not disturbtheir order which we will presume to be: king, ace, three. When a card has been mentally selected, place the three cards hackon top of the face-down deck and give the deck one thorough riffle shuffle. Place the deck behind your back, strip out thethree cards together and replace them on top of the deck. You will still have the king, ace and three in that order. Put the top

card (the king) in your rear trouser pocket, the next card (the ace) on the bottom of the deck and, the remaining card (thethree), on top of the deck. Bring the deck forward and place it face down on your table. Ask the spectator to name histhought-of card. If he names the king, slowly turn around and have him remove the card from your pocket. If he names the


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ace, simply turn over the deck on the table or, better still: have himturn it over. The ace will be revealed on the bottom ofthe deck. If he mentions the three as the thought-of card, tell him to turn over the top card of the pack on the table. Put a littlepresentation into this and it can be built up into a strong mental effect. The spectator will never be aware of the fact thatwhichever of the three cards he names is of no importance: You have arranged a place for each card and so there are threeplaces where the thought-of card could be!

#46

AN UNUSUAL VANISH

Haven card selected and reverse the deck. Have the selected card returned to the deck. While shuffling, bring theselected card to the top of the deck. Place the deck face down on the table. While talking or by use of some misdirection,moisten the back of your right hand with your lips or tongue. Tell the spectator you are going to show how to make a cardvanish. Place your right hand back down, on top of the top card of the pack. Do this to illustrate to the spectator what is youwant him to do. When you take your hand away from the pack, the top (selected) card should be sticking to it due to themoisture on its back. Get that hand below table level quickly. The spectator will duplicate your actions. Then request that helook through the deck for his card. It will he gone! By then you will have had ample time to get the card into your pocket orwherever you want it to appear.

#47THE TRIPLE COINCIDENCE

In advance, reverse the Ace of Spades on top of the facedown deck. Tell the spectators you are going to conduct in

experiment in coincidence. A triple coincidence. Instruct one of them to count off -without looking at them- any number ofcards between eight and twenty after you leave the room. He is to deal off the cards face down on the table. Tell him, also,that the Ace of Spades is going to play an important part in the triple coincidence. He is to pick up the packet of cards hedealt off and replace it, face down, on the face-down deck, remembering the number of cards he counted. On your return,take the deck and break off the top portion (at the reversed ace, naturally!) behind your back. This will give you the amountof cards dealt out. Now, take the reversed ace and insert it back into the same packet, but with face in the direction oppositeto the rest of the cards. Bring this small packet forward and ask how many cards were counted. Show that the packet you areholding out has the same amount. Coincidence #2: The ace you mentioned is in this packet. Coincidence #3: The ace is faceup, the rest of the cards face down.

#48THE MAD MAGICIAN

Pre-arrange your deck with all the red cards reversed. Spread it, face up, on the table but do not comment on color.Just mention that the deck has been thoroughly shuffled.

Pick up the cards and strip them so the top half of the deck is black and the lower half, red.Relate the following story:"Once upon a time there was a madman who thought hr was a magician - or a magician who thought he was a

madman ... I don't remember which. However, let's just say that all magicians are mad... or all madmen are magicians. Any-how, the reason he was driven mad was that every time he took a card from the deck it was a red card." Remove and show acard from the bottom half of the deck you are holding face down. Replace the card.

"Even when hr cut the deck hr always got a red card." Cut the deck into the red half. "He even took a card frombehind his back and, sure enough, it was a red card!" Place the deck behind your back and take a card from the lower (red)half.

"Our magician tried putting the cards in his pocket and -guess what?... Sure enough, he could only pull out a redcard! It even became contagious... When his friends touched one of his cards it turned red!" Have someone touch the back of

a (red) card and then show it.*"Finally, in desperation, our mad magician decided there was only one thing to do..." Shuffle the deck and strip it

once more so you again have all black on top and all reds on the bottom. "...He was not so dumb. He cleverly deduced that ifhe separated half the pack and touched it it would be all red ..." Divide the deck into two piles and place them widelyseparated on the table. "...and sure enough, all red Spread the red half face up on the table. "Our no-longer-mad magicianfinally found a way to get a black card - just turn over the other half of the deck." Turn over the second half of your deck andshow it consists of all black cards.

*An excellent gag here is to have a red King of Spades ~obtainable from your magic dealer- in your pocket, ready to be

handed out to be touched.

#49THE ALLOWANCE

"Once upon a time, a magician had a stupid wife-in fact, any woman who would marry a magician is stupid.However, that's beside the point. He had her believing that playing cards were money and he always gave her an allowance


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of 65 cents a week. Here is how he did it." The magician throws a bunch of cards on the table, they are turned face up andthe total of the spots equals 65.

Method: Reverse two tens, three fives, one four, two sixes, one trey, one deuce, one eight and one ace. Strip themout and throw them on the table face down.

#50THE STRANGER

In this effect one of the cards in your deck is of the opposite color; let us say you have a blue-backed card in a red-backed deck. Reversed, of course.

Spread the deck face down and remark that someone made a mistake in packing the deck. properties. Now, usingthe stripper principle you can cut to this "stranger" card, or find it behind your back, do the stabbed deck trick with the knifeblade finding the odd card, etc.

For a finish, drop the deck into your coat pocket and bring out a deck of blue-backed cards into which you haveinserted the reversed red-back duplicate of the one you've been using. Bring the deck out face up and spread it on the table.Patter a bit about the mysteries of color and spread the deck face down to show the stranger card has turned color and so hasthe rest of the pack.

#51THE RELUCTANT CARDS

EFFECT: Three cards are selected, replaced in the deck and the deck shuffled thoroughly. Performer takes thedeck and drops it into the open end of a wooden case. The selected card refuse to drop in with the others.You will need a case to hold your deck but tapered just as the cards are. It can be easily constructed from heavy

cardboard or cigar-box wood. The broad end of the case is left open. When dropping the shuffled deck back into the case, besure to do so with the tapered end down. The selected cards will be forced up by the tapering of the case. Patter about howsome cards are reluctant to mingle with the others.

#52WORLD'S FASTEST COUNT

Set up your stripper deck as follows:About ten cards from the top of the deck, reverse the next six. About ten cards from the bottom of the deck,

reverse the next ten. So you will have a deck with top cards normal, six reversed, more normal cards and then ten reversed.Place a joker between the 27th and the 28th cards and the other joker somewhere near the top or bottom of the

deck.When about to perform take the deck out of its case and, saying that you won't use the jokers for this effect, take them outand lay then on the table. However, it is important that you hold the place where the joker was marking off the 27th and the28th cards. Break the deck at that point, hand the top half (containing 27 cards, 6 of which are reversed) to one spectator andthe bottom half (with 25 cards, 10 reversed) to another. Ask each to shuffle their half thoroughly.

Now, take the half which was originally at the top and put it behind your back. Immediately, bring your hands for-ward each holding a pile and say: "I have 21 cards in one hand and six in the other." Then, take the second half of the deckand repeat the same procedure but -with this half - say: "I have 15 cards in one hand and ten in the other."

When the four piles are counted, it will appear as if you have done a lightning count behind your back.

#54JUST FOR LAUGHS

Have a Fortune Telling Deck stripped. Reverse the cards you wish to jibe with a fortune you will predict forsomeone. Ask someone to shuffle the deck for you. Take it back and bring the reversed cards to the top. Turn them over and

show that the fortune you have predicted in advance, by reading (?) the spectators palm, is confirmed by the cards.

#53SUPER STRIPPER

Take two stripper decks, one blue-backed and one red-backed. From these two decks you can make two unusualdecks -with infinite possibilities. Make two strippers that consist of half red-backed and half blue-backed cards. Not onlycan you use this as a regular stripper deck, you can now do effects involving color. For example: Separating red-backedfrom blue-backed cards by reversing one color; cutting to a desired color back with the deck face down on the table (selectedcolor reversed), etc.

END STRIPPERSYou can purchase cards stripped at the ends instead of the sides of the deck. These, too, have many uses and will

fool even the fellow who is familiar with the Stripper principle. However, many more effects are possible with side strippers

than with end strippers, so this book is devoted solely to the side stripper.


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BLANK STRIPPERHave your favorite magic dealer strip a deck of blank cards for you. With this deck, you can do amazing "living

and dead" tests and many other "mentor' routines.

MAKING YOUR OWNClamp an ordinary deck in a vise and, with fine sandpaper, you can wear away one corner of the entire deck. How-

ever, professionally stripped decks are so easily and economically available from any magic shop that it is impractical to go

to that much trouble.

ALPHABET CARDSMany effects are possible with a stripped deck of Alphabet Cards. You may purchase these cards from any magic

dealer and he will also strip them for you.

ESP CARDSA deck of Extra Sensory Perception cards has symbols, instead of suits and numbers, on the faces. These symbols

are Triangles, Squares, Circles etc., such as are used in telepathy experiments. A stripped deck of such symbols offers manypossibilities for pseudo mind reading effects.

PARA LOS AVANZADOS

For those with a good working knowledge of sleight of hand the stripper can prove invaluable in many effects.Those listed below are a few you can use in conjunction with standard effects.

#55TAP IT OFF

This is a weird effect. Have two cards reversed in the deck. Shuffle and bring them to thetop. Hold the deck face down in your left hand. With your right thumb and middle finger, lightlypick up the two top cards by the protruding edges and show the two cards as one card. Replace thetwo cards on top of the deck. Ask a spectator to tap the back of the top card on the pack. Show it.Because he presumed that be tapped the card which was shown him, he will be amazed when youturn the card over and it proves to have changed to a different one.

#56THE AUTOMATIC RISE

As in the previous effect reverse two cards, strip them and bring them to the top. With your right thumb andmiddle finger show the two top cards as one. Place the double back on top of the deck. Hold the deck face down and bury

the top card in the deck. Tap the top of the deck and show that the card you "buried" has returned to the top.

#57THE PAPER CLIP

Have two cards reversed in the deck. Shuffle. Strip the two reversed cards to the top and show as one card.Replace the two cards on top of the deck and fasten a paper clip to the top card. The spectator will presume that the clip is onthe card you showed him. Lay the three top cards face down on the table and tell the spectator to name the card with the clipon it. Of course, he won't!


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#58LA CARTA VOLADORA

Invierte dos ases en la baraja. Permtenos usar el As de Picas y el As de Diamantes para la ilustracin. Mezcla labaraja y lleva ambos ases a la cima del paquete. Toma los bordes sobresalientes de ambas cartas invertidas y muestralascomo una sola. Permteme decir que los espectadores ven el As de Picas (el As de Diamantes est atrs del de Picas). Ponambas cartas sobre la baraja, quita la carta de encima y ponla sobre la mesa. El espectador presumir esta carta es el As de

Picas. Quita la crta siguiente y sostnla boca abajo encima de la carta que est en la mesa. El as en tu mano (As de Picas)sostenlo unos 5 centimetros sobre la carat que est cara abajo en la mesa.. Gira la carta de tu mano mostrando que es el Asde Picas, vuelve la de la mesa y muestra que es el As de Diamantes.

#59ONE HAND LOCATION

Request that a card be selected. Reverse the deck, ask that the card be replaced and then that the deck be shuffled.Remarking that, "The hand is quicker than the eye," show that the selected card is not on the bottom nor on the top of thedeck. Hold the deck in the right hand in position for the one hand cut. When your right thumb feels the reversed card, allowthe cards below it to fall into your right palm; complete the cut, then show that the selected card is on the bottom of the deck.

#60THE BAD PENNY

Reverse three aces in the deck and shuffle. Strip the aces to the top. Execute a triple lift (showing the three cards asone). Let us say that when you show the spectators the (apparently one) card, they see the Ace of Hearts. Remark that theAce of Hearts is a bad penny and always keeps turning up. Lay the three cards face down on top of the deck. Remove the topcard and place it in the center of the deck, face down. The spectators will presume that you have buried the Ace of Hearts.Now, do a double lift with the two cards on top of the deck and show that the Ace of Hearts has returned to the top. Place thetwo cards face down on top of the deck and, again, bury the top card. Once again show the top card, The Ace of Hearts isback! Throw up your hands in disgust and remark you give up.

#61THREE CARD MONTE

A good sucker effect., Have two cards previously reversed in the deck. Shuffle and bring them to the top. Lift thetwo cards as in effect #55, and show to the spectators. Place the two cards back on top of the deck, then bend back the cornerof the top card and place it face down on the table. The spectators will presume that the card with the bent corner is the sameone you have shown. Lay two more cards face down alongside the bent one. Do not show the faces. Move the three cardsaround. Ask the spectator to pick out the card first shown him, he will of course turn over - the card with bent corner.

#62PASSE PASSE

Proceed exactly as in effect #58 (Flying Card) until after you show the double card and replace the two on top ofthe deck. Then openly take the top card and place it face unseen, in a spectator's pocket. The ace left on top of the deck isshuffled into the deck. Now, "command" the two aces to change places. The spectator will find that the ace in his pocket isthe one he presumed to be in the deck and the one in the deck the ace he thought you had given him.

#63INKREDIBLE

Prepare an ordinary, unstripped, Ace of Hearts by putting a drop of blue ink near the center of the large pip andallow it to dry. Insert this prepared ace in your stripper.Force the unprepared, stripped, Ace of Hearts from your stripper on a spectator; or, cut to it and show it to your audience butdon't look at it yourself. Shuffle the deck and palm out this tapered ace (leaving, of course, the prepared unprepared ace inthe pack). Insert the deck face down into its case.

Patter about magicians' blood having magical properties and-as every magician has magic in his veins- his bloodcan locate the desired card.

From your pocket, take out a fountain pen which you have filled with vanishing ink* and remark that this effectrequires blood, blue magicians' blond and you have filled the pen with your own. Let one drop of ink fall on the outside ofthe card-case, near the center. With your forefinger, gently rub the drop of ink. It will vanish completely in a second or two.

Remove the deck from the case, spread it face up and show the selected card has an ink spot on it.*

This ink is sold at most novelty and magic shops.


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#64THE JACKS' PERSISTENCY

(Originally published in Hugard's MAGIC Monthly)

EFFECT: Magician ribbonspreads a deck of cards, faces up, and slides the four jacks clear of the spread. Leavingthe jacks face up on the table, he gathers up the deck, squares it and invites any spectator to shuffle it. Taking the deck back

he asks four different spectators each to insert one of the jacks at any point they please in the deck. When this has been done,performer again requests someone to shuffle the cards thoroughly. Performer then takes the deck and makes it into fourseparate piles on the table before him. When top card of each pile is turned over, spectators are surprised to find that all thejacks have risen to the top.

METHOD: When deck is returned, riffle shuffle once, strip the jacks to the top and riffle shuffle once moreretaining the jacks in position.

Now:1. Hold deck in your left hand, right edge parallel to floor and resting on the lower joints of middle, ring and little

fingers with thumb lying across left edge and forefinger curled against face of bottom card.2. With tip of left thumb, riffle upper left corner of deck until you have about of the deck left to go.3. Grasp the top 3/4 portion of the deck between your right thumb at the inner end and your fingers at the outer end

and lift packet clear of bottom portion.At the same time, left middle, ring and little fingers curl up and press against top card(jack) retaining it against top of bottom packet remaining in left hand.

4. Place this packet on the table and repeat steps 2 and 3 until you have four packets on the table each with a jack

on Sop.SUGGESTED PRESENTATION AND PATTER: Idly shuffling your deck, ask: "Have any of you ever noticed how somedecks have cards which are really obnoxious?.., No matter where you put them, they keep turning up!... I'll show you what Imean -.. In this particular deck, the jacks are the social climbers. Let's take them out.,," (Ribbonspread the deck and slidejacks out; pick up the spread, square it up, shuffle.)

..Some of you may think that the jacks turn up only for me... that they have an 'affinity' for me.., Well I'll ask fourof you gentlemen to pick up one jack each and insert it wherever you like in the deck Now, sir, will you please shuffle thedeck? Thank you... While our cooperative friend makes sure that the jacks are really buried, let's review what hashappened..." (Use index fingers of right hand to count off left fingers thus casually showing your hands are clean.)

One, we separated the jacks from the rest of the cards and left them face up on the table in order to make certainthat they were not in some sort of pee-arranged sequence. Two, four different persons replaced a jack at a different spot inthe deck. Three, another person is now shuffling the deck -,. Will you, sir," (to the shuffler) "please make sure that there areno jacks at the top or bottom of the deck and then give it back to me? Thank you--- Let us now square the deck.,, divide itinto four parts like so. and now we turn over the top card of each pile ...and we find that you can't keep thejacks down. No matter whereyou put them, they persist in climbing to the top!"

WARNING: Don't let more than one spectator at a time pick up a jack and keep your eyes on him! He may inad-

vertently turn his jack end for end.

#65ELUSIVE CARD

An elusive card routine is always entertaining and mystifying. However, by having a card previously reversed inthe deck you can add a great deal to the effect, for during the routine you can have a spectator shuffle the cards and imme-diately go into the elusive card again.

#66

If a card is protruding at end "a" of the deck, that same card will be indented at end b of the deck. Thisindentation may be used as a short card. There is a definite click when the deck is riffled at this end.

#67

Use una carta invertida como carta "clave". Puede cortar fcilmente por la carta clave, y puede tener la cartaseleccionada al lado de ella.

#68

Carta en el techo, usando la baraja biselada para traer la carta seleccionada a la posicin superior.

#69

Si realiza "Fuera de este Mundo" -y seguro lo conoce- usando la baraja biselada lo conertir en ms de un milagro.Simplemente tenga la baraja preparada con un color completo invertido, de a mezclar el mazo, luego podrs separarrpidamente los colores para realizar el juego.


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#70

Para una rutina de juego por dinero, puedes tener el arreglo de naipes invertidos, luego de barajar, fcilmente traeslas cartas preparadas sobre la baraja.

#71

Needless to say, bringing a card to the top for palming is an easy matter with the stripper. After site card is palmedand the deck shuffled you can add the palmed card to the deck, still reversed, and be able to do many unusual effects.

#72

You will find that, with a little experimentation, the stripper can be very useful in your work. For example: withoutany false shuffles or passes you can force the same card several times, simply by bringing the stripped card you are forcingto the top of the deck.

#73

EL GRAN ENTUSIASTA

If every other card in the deck is reversed, it is an easy matter to get into position for the giant fan without inter-weaving the two halves of the deck. Simply strip out half the cards almost to their full length, giving the pack nearly doublethe length and then go right into the fan, The stripping should be done quickly and smoothly.

***********

The two effects which follow were devised by my good friend, John V, Hope. A past president of New York's F.A.M.E.,Mr. Hope is a versatile magician with a particular bent for coin magic. However, the following samples will prove that heis no "slouch" with cards!

#74BOOKED DECK DISCOVERY

EFFECT: A card is selected and returned to the deck. During the shuffle, some cards become reversed in thedeck. On spreading the cards it is seen that the deck is pretty well mixed up with cards face up and face down. The deck isshuffled some more and cut once. Spreading the cards again it is seen that they have all righted themselves, except for theselected card.

METHOD: Have a card selected and returned as you usually do for controlling the card. Start shuffling and, afterone or two regular shuffles, reverse one half the deck and turn it face up. Continue shuffling. This will give you whatgamblers call a "booked" deck, that is: a deck with the cards mixes face up and face down. This turning of the cards face upis important. The simplest way is to open the deck like a book, using one of the ends as an imaginary hinge. Continueopening this imaginary book until both packets touch the table. You now have one packet face up and one face down.Without changing the relationship of the packets, shuffle them into each other. Show the cards to be all messed up.

After showing the cards to be hopelessly mixed, strip out all projecting cards and place them on top of the deck.

When all the projecting cards are on top of the deck, turn these cards over so that both packets are facing the same way.Spread the cards and all of them will be facing the same way except the selected card.

NOTE: If the deck has been used a bit, spread it outface up. There is a tendency for the reversed card to stick to

the others and not show itself. If this happens, don't say anything about the selected card. Square the deck and make a

magical gesture towards it. Now, spread the cards face down and the selected card will be the only one face up.

#75AGAIN THE BOOKED DECK

EFFECT: The deck is shuffled with about half the cards face up and half face down. Spreading the cards in yourhands, explain to a spectator: "Run through the cards as I'm doing and if you see a card you don't like, turn it face down, ifyou see a card that is face down and you want to know what card it is, turn it face up. Remember which cards you turn eitherface up or face down." After the spectator has done this, take the deck from him, shuffle it and cut it a few times. Spread the

deck and show that all the cards have righted themselves, except the cards reversed by the spectator.METHOD: Shuffle about half the deck face up into the other face-down half as explained in the previous effect.Explain to the spectator, what you want him to do, illustrating with the cards in your hands. When turning cards face up or


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face down, do so with a right to left or vice versa motion.Do not reverse them by turning the cards over end for end. Returnany cards that you reverse to their original position, impress upon your spectator that you want him to turn his cards over asyou did, then hand him the deck. After he has reversed his selected cards, take the deck from him and shuffle a bit. Strip allthe face up or face down cards to the top of the pack. By reversing or turning this packet so that the cards in it are facing inthe same direction as the faces of the other packet, you have arranged the deck so that allthe cards have righted themselvesexcept the spectator's cards.

****************

A SHORT STRIPPER ROUTINE

A routine, or "act" with the stripper should not be of long duration, for even good card tricks can become boring. Ifyou use this routine, practice it over and over again. Know the sequence of the tricks so well that you almost automaticallygo from one effect to the next. Most important of all: Be sure you know how to "handle" the stripper properly so that it is notapparent that you are using a trick deck. When seated with a group of spectators start out by having the deck shuffled byseveral persons. Watch for the one who shuffles the deck properly, i.e.: no reversals as he shuffles. When you have noticedthose that shuffle "your" way, pick on themwhen the effect you want to present requires that the deck be shuffled by aspectator.

PATTER & ROUTINE

"Ladies and Gentlemen: The secret of card manipulation is control. By controlI mean the shuffling of the deckand apparently losing of the selected card or cards during the shuffle when actually the performer has control of the selectedcards whenever he wishes. I would like to give you some examples of card control. First, the simplest: control of a singlecard."

Have a card selected, reverse the deck, have card inserted in the deck and then located quickly by you."Now, for a multiple control. We shall have four persons select a card and endeavor to locate all four of them."Have four cards selected and inserted in the reversed deck. Shuffle and find the four cards, preferably by bringing

them to the top."Now I wish to show you two of the most difficult types of card location."Find two selected cards, one behind your back, the other under a silk."Now, here is an example of a spectator unwittingly controlling his own card."Perform "The Coincidence" (#1)."And now for the impossible! The most unusual card trick you have ever seenand don't try to figure it out-it is

impossible."Finish up by performing "The Indian Giver" (#10).It is wise to learn a few simple card tricks that you can do without using the stripper principle. Your magic dealer

has a vast number of books on simple card tricks and sleight of hand. It is also a good idea to have in your pocket, an or-dinary deck of cards, with backs to match the stripper you are using. When finished with the stripper routine, drop the trickdeck into your pocket then, as an afterthought, bring out the ordinary deck and show a few simple card tricks. This is theeasiest of "switches."


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NDICEPREFACIO DE LA SEGUNDA EDICIN ____________________________________________________ 2

INTRODUCCIN ________________________________________________________________________ 3

LA BARAJA BISELADA __________________________________________________________________ 4LA COINCIDENCIA __________________________________________________________________ 5

LA CUENTA PERFECTA ______________________________________________________________ 5LA MEZCLA DE ARREGLO ___________________________________________________________ 5MILAGRO MEZCLA ARRIBA _________________________________________________________ 5PARES E IMPARES __________________________________________________________________ 5UN FORZAJE SIMPLE ________________________________________________________________ 5LA MANO DE POKER ________________________________________________________________ 5LEYENDO LA BARAJA _______________________________________________________________ 6SEPARACIN COLORIDA ____________________________________________________________ 6EL DADOR INDIO ___________________________________________________________________ 6UNA RAREZA_______________________________________________________________________ 6EL OLFATO INTELIGENTE ___________________________________________________________ 6LOCALIZACIN EN EL BOLSILLO ____________________________________________________ 6EL ENIGMA DEL BOLSILLO __________________________________________________________ 6

UNA RARA INVERSIN ______________________________________________________________ 7LA BARAJA APUALADA ____________________________________________________________ 7LOS ASES DEL JUGADOR ____________________________________________________________ 7LA CUENTA DEL DEDO PULGAR _____________________________________________________ 7FUERA DEL SOMBRERO _____________________________________________________________ 7TODOS LA LLAMAN_________________________________________________________________ 7LOS CUATRO LADRONES ____________________________________________________________ 8LA PRXIMA SER _________________________________________________________________ 8SIN INVERTIR ______________________________________________________________________ 8UN OJO GENIAL ____________________________________________________________________ 8COINCIDENCIA MONETARIA_________________________________________________________ 8LA PREDICCIN ____________________________________________________________________ 8LA CAJA TRUCADA _________________________________________________________________ 9

GIRO REVELADOR __________________________________________________________________ 9CUALQUIER CARTA O CUALQUIER PINTA ____________________________________________ 9USANDO UN SOCIO _________________________________________________________________ 9AS , LA VIA DIFCIL _________________________________________________________________ 9UN PEQUEO TRUCO _______________________________________________________________ 9QU BOLSILLO? ___________________________________________________________________ 9EN TRIPLICADO ___________________________________________________________________ 10El TRECE DE LA SUERTE ___________________________________________________________ 10DOS ASES NEGROS ________________________________________________________________ 10El 7 DE LA SUERTE _________________________________________________________________ 10REYES Y REINAS __________________________________________________________________ 10EL AS PERDIDO ____________________________________________________________________ 10THE EYES HAVE IT _________________________________________________________________ 11

FINGERPRINTS ____________________________________________________________________ 11FACE UP OR FACE DOWN ___________________________________________________________ 11


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MATHEMAGICAL __________________________________________________________________ 11COLOR TELEPATHY ________________________________________________________________ 11PURELY MENTAL __________________________________________________________________ 11AN UNUSUAL VANISH _____________________________________________________________ 12THE TRIPLE COINCIDENCE _________________________________________________________ 12THE MAD MAGICIAN _______________________________________________________________ 12

THE ALLOWANCE _________________________________________________________________ 12THE STRANGER ___________________________________________________________________ 13THE RELUCTANT CARDS ___________________________________________________________ 13WORLD'S FASTEST COUNT _________________________________________________________ 13JUST FOR LAUGHS _________________________________________________________________ 13SUPER STRIPPER ___________________________________________________________________ 13

END STRIPPERS __________________________________________________________________ 13BLANK STRIPPER ________________________________________________________________ 14MAKING YOUR OWN _____________________________________________________________ 14ALPHABET CARDS _______________________________________________________________ 14ESP CARDS ______________________________________________________________________ 14

PARA LOS CARTOMANOS _______________________________________________________________ 14TAP IT OFF ________________________________________________________________________ 14THE AUTOMATIC RISE _____________________________________________________________ 14THE PAPER CLIP ___________________________________________________________________ 14LA CARTA VOLADORA _____________________________________________________________ 15ONE HAND LOCATION _____________________________________________________________ 15THE BAD PENNY ___________________________________________________________________ 15THREE CARD MONTE ______________________________________________________________ 15PASSE PASSE ______________________________________________________________________ 15INKREDIBLE ______________________________________________________________________ 15THE JACKS' PERSISTENCY __________________________________________________________ 16ELUSIVE CARD ____________________________________________________________________ 16#66 _______________________________________________________________________________ 16#67 _______________________________________________________________________________ 16#68 _______________________________________________________________________________ 16#69 _______________________________________________________________________________ 16#70 _______________________________________________________________________________ 17#71 _______________________________________________________________________________ 17#72 _______________________________________________________________________________ 17EL GRAN ENTUSIASTA _____________________________________________________________ 17BOOKED DECK DISCOVERY ________________________________________________________ 17AGAIN THE BOOKED DECK _________________________________________________________ 17

A SHORT STRIPPER ROUTINE __________________________________________________________ 18

PATTER & ROUTINE ___________________________________________________________________ 18

NDICE _______________________________________________________________________________ 19

75 TRUCOS con la baraja biselada.pdf

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