Diamond Cut Diamond

Effect: The performer removes the ace through ten of diamonds from the pack, arranges the ten cards in numerical order, and sets the packet aside. He then has someone peek at any card in the deck. The card is not removed, merely glimpsed and remembered by the spectator.

The diamond packet is dropped onto the deck and the spectator is asked to name any number from one to ten. The performer deals the diamond cards into a face-up row, but leaves the card at the spectator's number face-down. When this card Is turned over, it is found to have changed to the spectator's thought-of card.

If desired, the vanished diamond card can be produced from the performer's pocket.

Method: Mr. Elmsley points out that this effect is only a variation on an old standard: the production of a selected card at any number called for. The method relies on the second deal. However, the embellishment of using ten arranged diamond cards makes the trick more interesting to watch and, oddly, easier to perform.

Because "Diamond Cut Diamond", like the previous item, relies heavily on the second deal, a sleight recognized (and rightly so) as difficult to master, the trick has not shared the wide popularity of other Elmsley creations. Yet, it has found its way into the repertoires of many magicians who do possess facility with the requisite sleights, and it has been bandied from page to page by such players as Edward Mario, Martin Nash and Frank Garcia, who all recognized the mysteiy and entertainment inherent in the effect.

If you are one of the many who is intimidated by the second deal, but who dream of mastering it, please pay close attention to this trick. "Diamond Cut Diamond" is an excellent item with which to gain confidence while perfecting your second dealing skills. Even a mediocre second deal can pass muster here, as attention is naturally focused on the cards as they are turned up, rather than on your hands and the deck.

Now to the trick itself. Begin by removing the ace through ten of diamonds from the deck. Openly arrange them in ascending order from top to face. Square the packet and set it face-down to your right, at the near edge of the table.

Give the balance of the pack a shuffle and have a card peeked at by a spectator. Catch a left fourth-finger break below the card as the spectator sights it. and side steal the selection from the deck, palming it in the right hand. All this is common procedure.

With the right hand, pick up the diamond packet, adding the palmed card to the top. (The packet was placed near the edge of the table to facilitate this.)

"Here, you remember, we have the diamonds." Turn the right hand palm-up and, with the right thumb, partially fan the packet. Position the right forefinger at the right edge of the packet to keep the lower cards blocked together as the fan is made (Figure 118, an underview). This assures that the selection is not exposed.

Tip the fanned cards face-down onto the pack, which still lies in the left hand. Squar e the cards and ask, "Will you please give me a number between one and ten?" Let's assume the spectator specifies five. "Then we shall use the five of diamonds."

Begin to second deal cards, turning them face-up as you lay them on the table in an overlapping row. Work from your right to your left when forming the row, and leave at least half of each card exposed as the next is laid on it.

"As you have already seen, these cards are in order from ace to ten. The card you named was the five." When you reach the fifth card, deal from the top and lay the card (the selection) face-down in the row.

"But you could have chosen any one of these cards," Deal seconds again, until the ten of diamonds appears. All the diamonds are in order, from ace to ten, and everything appears as it should (Figure 119).

"Now, what card are you thinking of?" When she names it, snap your fingers over the face-down card in the row and turn it up. It is, of course, the selection. The five of diamonds is gone.

You can conclude here, or you can palm the five of diamonds from the top of the deck and produce it from your pocket. The card also could be found in a wallet, a sealed envelope, or some other place; however, the simple pocket production is best. You do not wish to lose the main effect of the change by overwhelming it at the last moment with some thoroughly impossible production of the diamond card. Save that for another time and let each of these effects survive on its own substantial merits.

November 1954

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