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 6V 
 1549 
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 1921 
 
 I 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924088980077 
 
CORNELL UNIVERSITY LIBRARY 
 
 3 1924 088 980 077 
 
 BUCKLErS 
 
 NEW AND IMPROVED 
 
 Effects \A/ith Cards 
 
 A Series of Twelve Problems 
 
 NUMBER ONE 
 
 THE TRIPLE CLIMAX 
 
 By ARTHUR H. BUCKLEY 
 
 Illustrated by 
 
 HARLAN E. TARBELL 
 
 Edited by 
 
 GUS MOFORD 
 
 ,S.i 
 
 Published by 
 
 MAGIC PRODUCTS COMPANY 
 
 CHICAGO, U. S. A. 
 August, 1921 
 

 Copyright 1921 
 By Magic Products Company 
 
 All rights reserved including that of 
 translation into foreign languages. 
 
Number One — A Triple Climax 
 
 ' ^ ' EFFECT, BRIEF PRESENTATION AND PATTER. 
 
 ' The perfoimer requests two gentlemen from the audience to take part in this 
 experiment. • ' - .; -'• 
 
 These men we will call "A.'^ and "B." A is' requested to stand at the per- 
 former's left and B at his right. '' ■■ 
 
 The performer freely shuffles the pack, then holding the cards in t^e left hand 
 has A lift the index corner of the cards (opening the pack about the middle) and 
 notp one card. Tlieii, pxtending the pack towards B, B is also requested to note 
 one card, in the same manner that A did. _ . 
 
 The perforiper then, fans the pack, in front of A, requests him to select a card 
 but not to kok at it but fo show it to the audience. (Performer, addressing . some 
 one in the front row: "Will you please remember the name of the card.") A is 
 then told to return the card to the pack; while the performer is shuffling the cards 
 he addresses A: "I want you to fake the pack, deal the cards one by one, face dp'Wn 
 on my left hand ; do -it in such a manner that the cards will be unknown to either 
 of us."- While each card is being dealt into the performer's left hand, the -performer 
 slaps the cards with his empty right hand, and : counts aloud, "ONE," "TWO,'* 
 r"THEEE" (at. this stage of the efE6ct,.the performer addresses A) ; s'Tardon me, 
 I forgot to mention,, you have the privilege of stopping the deal at any time .you 
 wish. Do not let me infliience you in any way. To prevent my doing, so I would 
 prefer that you think of- a number, any number under twenty, and. when you have 
 dealt the number of cards you have in mind, say 'STOP' — please proceed with :the 
 deal." The deal is then continued by A and the counting by the performer: 
 "FOUE, FIVE, SlXi SEVEN, EIGHTj NINE" (A says "STOP.") Performer 
 (to A) : "Is nine the "number you had in mind ? Name your card, please." (Ai 
 "The jack of hearts.") Perforriier extends left hand with .the nine cards J.ust dealt 
 by A. "Will you look at the top card, the ninth Card at which you stopped. It is 
 your card, the jack of hearts. Hold it up so that the audience may see it— thank 
 you." Takes card from A with right hand, immediately turns to B with card 
 extended, face down (addresses B).- "I don't suppose by any strange coincidence 
 that your card was also this one, the jack of hearts? No? Then will you please 
 name jour card?". (B) "The six of spades." '. . ■ 
 
 "Performer instructs B to blow'on card (supposedly the jack of hearts)!, "Now, 
 look at it." Then show to the audience. Card proves to be B's selectioii--the six 
 of spades. -, . v^! ' - ?:^y- ' ■■■ 
 
 . Performer turning to party in front .row — "What was your card, please ? 
 Thank' you; this gentlejcnan (turning to. A) has it in his pocket." As.the )v;prds are 
 spoken performer removes, card from A's pocket and exhibits it:to;,speptetors. , 
 
 NOTE—Int'he abdved^sdnption of ihe'effedt, presentation andpdWeryive tiavi 
 Ijiven the reader more detail than is ordinarily used, because it is to Wdgairi' studied 
 hy the. reader, after you have, learmd the fundamentals of this prablerr^y- .-v.; ,- , 
 
4 BUCKLEY'S NEW AND IMPEg YED_EFFECT8jnT H CARDS 
 
 Sleights Necessary to Performing the Triple Climax 
 
 In performing this effect six sleights are employed : 
 
 THE FLESH GRIP 
 BUCKLEY'S BOTTOM SHIET 
 
 THE TWO-HANDED PASS '.■■.[ 
 
 THE SLAP SHIFT ■ i K \ 
 
 THE TOP CHANGE i i 
 
 THE BOTTOM PALM 
 
 The manner in which these sleights are used will be better understood when - 
 the reader is made acquainted with the purpose for which they are employed. - 
 
 THE FLESH GEIP is used to retain "the location of a noted card, until the 
 opportunity arises for the shift to be employed. 
 
 BUCKLEY'S BOTTOM SHIFT permits the secret extraction of a noted card, 
 causing the card to be conveyed silently and without visible movement to the 
 bottom of the pack. - 
 
 THE TWO-HANDED PASS, in this effect,. is employed to convey three cards - 
 from the bottom to the top of the pack. 
 
 THE SLAP SHIFT is an excellent method of shifting the bottom card, of 
 several cards, held in the left hand, to the top position; under pretext of slapping 
 the cards with the right hand. 
 
 THE TOP CHANGE is employed to secretly exchange a card held in the 
 right hand for the top card of the cards held in the left hand. 
 
 THE BOTTOM PALM, in this effect, is employed toi;ransfer the bottom card 
 of a pack (held in the left hand) to the palm of the right hand. 
 
 DETAILS FOPv LEARNING SLEIGHTS 
 
 We will now proceed to study in detail the various sleights, the purpose of 
 which have Just been explained. • 
 
 USB YOUR OWN METHOD, IF GOOD 
 
 Most performers using effects that require sleight-of-hand have their own pet 
 method for performing certain sleights. If your method is good and gets the' 
 desired result in a clean-cut, undetectable manner, use it. Don't confuse, your mind 
 by trying to accomplish the same result in a dozen different ways. Stick to the 
 method that comes most naturally to you and practice it until you can perforin; 
 it in a finished manner. i 
 
 THE FLESH GRIP 
 
 Hold a pack of cards in the left hand, the balls of all foujr fingers pressing.E 
 against the side of the pack, the thumb resting flat across the middle of the top 
 card and touching the tip of the second finger. (Take a pack of cards and foUoW' 
 each move described.) 
 
 With the pack in this position the performer requests some person to note a 
 
NUMBER ONE: THE TRIPLE CLIMAX 
 
 card by raising the index corners .of the cards and looking at one" card. (See 
 Figure 1.) 
 
 FjgJ. 
 
 FiG.Z 
 
 While the, cards are raised press the ball of the first finger firmly against the 
 lower portion of the pack. This causes a minute portion of the flesh of the ball of 
 the finger to over-lap the card that is immediately under the noted card. (See 
 Figure 2.) 
 
 When the raised portion of the pack is released by the spectator this "flesh 
 grip" prevents the cards from falling fairly back into place and a slight division 
 is maintained at the noted card. 
 
 Immediately lower pack, backs toward the audience, to prevent the method 
 being detected. 
 
 THE BUCKLEY BOTTOM SHIFT 
 
 Place cards in position as taught in the "flesh grip." Now bring the right 
 hand over pack, as shown in. Figure 3, with the index finger of the right hand at 
 the end of pack and near the index finger of 
 the left hand. The thumb of the right hand 
 occupies a position at the other end of the pack. 
 
 With the right hand raise the upper por- 
 tion of the pack (where the opening has been 
 maintained by the "flesh grip"), slide the fin- 
 gers of the left hand into the opening, pressing 
 against the noted card, push the. noted card out 
 under the right hand and grip the index corner 
 between the third and fourth fingers as shown in 
 Figure 4. Figure 5 shows card being drawn 
 under ^ack. 
 
 F/G.3 
 
 Rg.4 
 
 Fig. 5 
 
BUCKLEY'S NEW AND IMPROVED EFFEGT8 WITH CARDS. 
 
 THE SLAP SHIFT 
 
 The slap shift was devised, for use in this effect. It is the most practical 
 method for secretly bringing the bottom card, of several cards held in the left 
 hand, to the tgp. The .spectator deals the cards, face down, on the performer's left 
 hand, which is held so as to receive the cirds in the position_ shown in Figtire 6. 
 With his right hand the performer slaps the back of each eaid ' as it is placed in his 
 hand. (See Figure 7.) . ,. i 
 
 As the right hand is -raised, tilt theleft hand dowii to cause the cards to slide 
 , - slightly forward and to expose, the bottom 
 
 card. The moisture of- the hand forms enough 
 resistance to cause the bottom'card to remain 
 stationar;|f. (See Figure 6.) 
 
 . , When the performer desires to transfer 
 the bottom card to .the top the cards are 
 
 Fi G. 6 
 
 Fi G.7 
 
 slapped as before, but this time the card is gripped -by the irght hand at its exposed' 
 corners; the right hand is again raised to slap the pack, conveying the card to the 
 top.- -(See Figures 7, 8 and 9.) ,' v , , 
 
 -^ 
 
 FiG.9 
 
 G.8 
 
 time^x^r'^"""^" '^ -"^ ""'^^X ^' "^^* ''^'^^ ^^^ a^^i^^ee'thecard is at-no ■ 
 
 '■;';;••■' T^^ X^ 
 
 .ipiV^^nf t^'t^ has be^it^more or less completely described in books pertaining t(^ 
 sleight-of-hand. It is not our intention to criticize or dispute 'the authority of 
 
NUMBEB ONE: -THE TRIPLE GLIM AX 
 
 preceding ajithors,, but as our object is to make these lessons as complete as possible, 
 we feel it Qiir;duty to give an explicit description of this wonderful sleight. 
 
 The underlying principle that permits the use of this sleight without detection 
 is of great importance. The combined movements together with the words spoken 
 (leading to the substitution of the cards) should be natural^ carefully planned and 
 rehearsed in advance of the, performance. 
 
 ■ The movements,, leading to or following the substitution^ are susceptible to 
 several variations, depending upon the effect in which it is used. 
 
 We will describe the basic principle, the specific variation used in this effect, 
 and follow this with an example that is illustrated by the dramngs in Figure 10. 
 
 The Basic Principle 
 , The performer has, a card in his right hand which he desires to exchange ioT 
 one (on top of a pack) held in his left hand. 
 
 We will call the card that is held in the right hand "a" and the one on top of 
 the pack "b." 
 
 • ■ Now refer to Figure 10-Y. Card "b" is pushed over the fingers by the thumb 
 and card "a" (held between the tips of the thumb and index finger of the right 
 
 FlO-X 
 
 FiG. t. 
 
 FiG.Y 
 
 hand) is placed upon the pack. Card "b" is then carried away between the first and 
 second fingers of the right hand. 
 
 Bear in mind that the basic principle just described is always the same, but 
 the moves made before and after the change are varied according to circumstances 
 and the requirements of the effect in which this sleight is used. 
 
 Variation Used In This Effect 
 ■':,, Card "a" (in the right hand) is held at arm's length from the body; the right 
 hand is then lowered in a sweep that brings it naturally down to the pack^ where 
 
8 BUOKIEY'S NJ^W AND IMPROVED EFFECTS, WITH CARDS 
 
 it is deposited and th4 substituted card "b" is carried away between the first and 
 second fingers of the right hand. The movement of ihe right arm is then continued 
 toward spectator B. 
 
 Example 
 
 (As applied to this effect) 
 
 Remember that A is standing at the performer's left and B at his right. 
 
 Figure 10-X shows the position of the hands while the performer is addressing 
 A previous to turning towards B. (This turn from A to B is used as a subterfuge 
 to cloak the exchange of A's card for B's card.) 
 
 As the performer turns, the extended right hand is brought naturally down 
 (see dotted lines and arrows in Figure 10-X) and while crossing the body it sweeps 
 past the pack, leaving A's card thereon, and carries B's card (see Figure lO-Y) 
 away between the first and second fingers of the right hand, continuing the sweep 
 of the aim towards B. (See dotted lines and arrows in Figure 10-Z.) , 
 
 If you will bear in mind the position of your committee (A and B) you will see 
 that this entire movement between the two is a graceful sweep of the arm and a 
 turning of the body from Jeft to right, th'e exchange being made as the hands con- 
 verge. There is no perceptible pause as the exchange is made. 
 
 THE BOTTOM PALM 
 
 An easy and practical method of making the bottom palm, that fits nicely- 
 into the effect taught herein, is a slight variation of the color change. 
 
 Hold the pack of cards in the. left hand, backs up, the second, third and fourth ' 
 fingers on one side and the thumb on the jopposite side, the -index finger on the 
 face of the bottom card. Now place the right hand so that the first joints of the ^ 
 middle fingers touch the bottom end of the pack, force the bottom card to protrude by .; 
 sliding it forward by the index finger of the left hand. When the protruding card ' 
 touches the first Joints of the middle fingers of the right hand bend it down slightly 
 and continue the motion of the right hand towards the floor, which will force the 
 card naturally into the palm of the right hand. In order that it may retain its 
 position a slight contraction of the righf hand is necessary. 
 
 The card in this position is now readily moved to" the top of the pack or inserted 
 in A's pocket, as in this effect. 
 
 THE TWO-HAND PASS 
 
 The two-handed pass or shift is probably the best known, most useful and 
 most difficult sleight employed by the card conjurer. It must be mastered before 
 you can perform the "Triple Climax," 
 
 Practice it faithfully, a half-hour each day, for two weeks. In this length of 
 time the hands should be sufficiently well trained to enable you to do this pass 
 creditably. 
 
 The two-handed pass is variously employed, sometimes to move a selected card 
 to the top of the pack, sometimes to the bottom, but in this effect it is used to transfer 
 the three cards that are at the bottom of the pack to the top. The moves required 
 are identical in each case and are as follows : 
 
 Take a pack of cards in your left hand, refer to cuts 1-A to 7-A and carefully 
 check each move as illustrated and described. 
 
NVMBER ONE: THE TRIPLE CLIMAX 
 
 Hold the pack as in Figure 1-A, the little finger in- 
 serted on top of the three bottom cards, the second and 
 third fingers and thumb on the top of the pack, the first 
 finger resting on the corner of the pack at the side. The 
 pressure of the fingers and thumb on top of the pack will 
 keep the cards tightly closed at the front so that the sep- 
 aration will not be noticed by the spectators. 
 
 Now form a bridge over the cards (as in Figure 3-A) 
 with the right hand, the ball of the second and third 
 fingers and the thumb gracing the lower portion of the 
 pack at opposite ends. 
 
 The upper ^portion of the pack, tightly clamped by the second, third and 
 fourth fingers (see Figure 3- A) is gradually drawn over the under portion until 
 in a vertical position. While this movement is in process of execution the lower 
 portion is being raised by the right hand (see Figure 4-A) until high enough (sec 
 Figure 5-A) to permit the vertical portion of the pack to slide underneath the 
 
 l-A 
 
 2-A 
 
 3-A 
 
 4-A 
 
 5-A 
 
 «-A 
 
 7-A 
 
 portion -held in right hand (see Figure 6-A). T?he portion held in the right 
 hand is now permitted to fall fairly down upon the re-located cards as in Figure 
 
 r^A. 
 
 If these moves have been properly followed the desired result, namely, that 
 of moving the three bottom cards to the top, will have been successfully accom' 
 plished. 
 
10 BUCKLEY'S NEW AND IMPROVED "EFFECTS WITH CARDS 
 
 -■■—,' EEHEAESE PEOBLBM '' • J. 
 
 Malce. sure that you have mastered the various moves and sleights, so thati' 
 you can use- thein ' in an undetectable manner; then refer to " ;. " 
 
 Effect, Fresentaiion and Patter 
 and rehearse the problem as a whole. , , . 
 
 As soon as your, assistants, A and B, have assumed positions to the left, and 
 right of ycu, proceed with the effect, using moves and sleights' as outlined below; 
 
 A having selected card, retain its position by the flesh grip, then transfei 
 to bottom' of pack hy 'using the "bottom shift." - -' .' 
 
 B having selected card, retain its position l)y the "flesh grip" and; transfer 
 to bottom qf .pack, underneath , A's card (again using the. "bottom shift"). ' ' 
 
 A having selected a second card (noted by audience) retain its position by th6 
 "flesh grip" and transfer to bottom of pack underneath B's card (again using the 
 "bottom shift"). 
 
 Now insert little finger. between the third and fourth bottom cards, execute ; 
 the "two-handed pass"; this will bring the three noted cards to top of pack in the 
 order in whicK they were noted, namely, A's first, B's second, and the one. noted 
 by audience third. , * ' " ' 
 
 You will then (riffle) shuffle the cards, taking care to release, , top ' of pack .i 
 last so as to 'interlace all but four or five top cards.' Audience .will-- hot notice 
 this ruse as they have no knowledge that the selected cards are at-tlie top of pack. :| 
 
 You are now ready to have A deal the c^rds in- your left hand. ' You will 
 note that you do not inform A that he- has the privilege of stopping the deal I 
 until after he has dealt the three noted cards. This is to prevent the possibility 
 of A stopping the deal before you have the three noted cards in your possession.;;^ 
 
 '* 
 
 When A stops deal give cards an extra slap and transfer. A'g card (which is 
 
 now the bottom card of those dealt in the performer's left hand) to the top by 
 the "slap Shift." 
 
 r '■, ■' ' ' . 
 
 A is now told to take his card and show it to the audience. .This affords thei; 
 performer an 'opportunity to shift B's card to the top by the use 'of the "bottom palm.". 
 
 Now take card from A, turn toward B., and execute the "top change" tp get 
 possession of B's card. ,;, '^■. "... 'j 
 
 After B has named his card hand to him to exhibit to audience. 
 
 "While B is doing, this use "bottom palm" again to obtain possession' of card 
 noted by audience, this time retaining card in palm. .1 > 
 
 Now ask the person in the audience to name the card noted, insert the palmed 
 card into A's (inside) breast coat pocket, withdraw and show card. . " ■ 
 
Ill