Lyre Cough

No. Link:Card Link

Card

Loaf: Ham

3H

Lobby: Port er

JC

Lad:Bridegroom

KH

Nose:Cap

6C

Nail: Cash

8C

Nun: Sack

9S

Gnome:Hun

2H

Norway: Sire

4S

Knife:Sash

8S

Nap:Dope

6D

Net: Hog

9H

Mill: Din

2D

Moon:Half

5H

Muff: Dog

9D

Mop: Hair

4H

Rail: Car

4C

Rain:Gardener

KS

Roof:Garden Boy

JS

Rope:Cog

9C

Fuzz: Suit

7S

File: Burglar

JD

Fan: Comb

3C

Fame:Dome

3D

Fair: Sum

3S

Fife:Dot

7D

Fop:Jeweler

KD

Fate: Cupid

JH

Peas: Kiss

10C

Pail:Can

2C

Pan:Hash

8H

Poem:Fashion Model

QD

Pear:Sissy

10S

Puff: Dose

10D

Pop: Hop

6H

No.

No. Link:Card Link

Card

67

Pet: Dove

5D

71

Tale:Bride

9H

72

TinrHat

7H

75

Taffy: Dish

8D

76

Tap:Hiss

10H

Here are a few aids for linking some of the less obvious word pairs.

01—SaihClubman: picture the king at a yacht club.

14—Lyre:Cough: picture the entire audience having a coughing fit at a lyre recital.

21—NaikCash: recalls the old phrase, "Cash on the nail."

22—Nun:Sack: remember the sackcloth of religious penitence; but perhaps the picture of a nun in a sack is more appealing.

45—Roof:Garden Boy: picture the boy climbing the roof of a shed to pick apples.

53—Fame:Dome: think of the Hall of Fame.

55—Fife:Dot: the dots are notes in the fife music.

65—Puff:Dose: think of asthma medicine.

We now have all the pieces in the chain of reasoning. When the spectator reads you the list of six colors, and lies about the color of his chosen card, you are given a binary sequence which you immediately convert to an octal number. This number recalls a mental picture founded on the link words for that number and the associated card. Viola! It sounds laborious, but if you master the mnemonic lists and associations, which are designed for quick memorization, the method is quite practicable. However, for those souls intimidated by mnemonic systems, here are two nonmemorious approaches.

Marked Deck Method

In this method, a special deck of cards is used in addition to the display board. Each of the cards in the deck— excepting the aces—are marked with the corresponding binary code in red and black ink. The deck, therefore, becomes a cueing device that eliminates the need for mnemonics or conversions to octal notation. With red and black permanent marking pens, mark the face of each card with six short strokes at one long edge, as in Figure 58. The six

58

♦ 4

Hill

♦2

V-

J

lines represent the color sequence that will be called out for that card. Thus, once you hear the spectator's sequence, all you need do is locate the card that bears it and remove it from the deck. This will be the mentally chosen card. To expedite this location, stack the deck in the same order given in the mnemonic list above.

Since the marks are small and lie only along one side, they can be easily hidden by the fingertips when the card is held face outward for display. If you arrange all marks at the same edge of the deck, then set the unprepared aces on the face of the pack, it can be fanned from the unmarked edge and the face of the fan shown to the audience. All marks are hidden. Yet, when the deck is fanned from the opposite edge, the marks are exposed to you. Gaze at the spectator after he has recited the six colors. Then say, "Yes, I think I've got it." Spread the cards, faces toward you, and remove the one bearing the same color sequence called. Display the face of the card and conclude.

Some readers may wish to explore the possibility of marking the backs, rather than the faces of the cards, using a less obvious mar king system. Doing so would allow you to remove the card from the pack without looking at the faces, providing a small touch of added mystery to the effect; and you could then use the same deck for subsequent tricks. If this thought appeals to you. consult Edward Mario's binary marked deck, explained under the title "For the Color Blind" (ref. Kabbala, Vol. 1, No. 6, Feb. 1972, p. 49).

Unmarked Deck Method

In this nonmnemonic method, we dispense with the display board of cards and instead use a real deck. Stack the deck from top to face in the order given in the chart on page 100. Then distribute the aces throughout it.

When ready to perform, bring out the deck and remove the aces, explaining that they are too distracting, or that they tend to be too predictable as choices. Discard them. Give the deck a false shuffle, if you like, retaining its full order. Then casually push off groups of six cards each, and form eight face-down piles on the table.

Turn away. Then have someone pick up any one of the piles she wishes and fan it faces toward her, as she would in a game of cards. Ask that she mentally choose any card in that pile, then call off the colors of the cards, from left to right, while lying about the color of her selection. When you hear the color sequence, you locate the corresponding card on a cue list. Where have you obtained a cue list? It is pasted to the backs of the four aces, which you have nonchalantly picked up as you turned your back. Each ace bears twelve red-black bar codes and the initials of each card coded.

It is obvious perhaps, but worth noting, that if the spectator does not alter the sequence of the cards in her selection pile, the eight piles can be gathered in any order, and the deck is thus reset for another performance,

Lewry's Platform Presentation

Colin Lewry, a friend of Mr. Elmsley's, developed an excellent platform presentation for "Pack of Lies", using a large blackboard and an eight page "scrapbook" to present the cards for selection. Six cards are mounted in a numbered row on each page. The pages are also numbered (Figure 59). Each of these six-card rows corresponds, of course, to a row on the chart given above. It is probably wise to mount cards only on the front side of each page. This allows only one row of six cards to be viewed at a time, minimizing the possibility for misunderstanding or error on the participating spectator's part during the course of the trick.

Mr. Lewry's presentation is exceptionally powerful. He asks someone to select any card in the scrapbook. The spectator is then asked the following questions:

1) On what page is his card located? He is told to lie about this.

2) What position does his card occupy in its row? He is to lie about this as well.

3) What are the colors of the cards in this row, reading from left to right? He lies about the color of his card.

4) What is the name of his card? He lies yet again.

Each of his prevaricating answers is written boldly on the blackboard. Mr. Lewry now moves swiftly to a multiple climax:

'You claimed you were thinking of a card on page four; but you were lying. Your card is on page six. Am I right?" As this is confirmed, he dramatically crosses out the 4 on the blackboard and writes 6 beside it. This physical revision is done with each correction as it is made.

"You said your card was fifth in its row; but you lied. It was third. Right? You said the colors of the row were black, red, red, red, red, black. You lied. They were black, red, black, red, red, black. Is that right? Finally you said you were thinking of the jack of diamonds;

but you lied once more. You are thinking of the four of clubs. Is that indeed the card in your mind? Yes! Thank you!"

A cue sheet lies hidden in the chalk tray or on the back of the blackboard. It lists each of the forty-eight possible color sequences, along with the pertinent page number, position in the row and identity of the chosen card. Mr. Lewry has organized his cue sheet in the manner of a chessboard. There are eight rows and eight columns. He converts the spectator's color sequence Into octal—which, by the way, is effortless with the sequence written on the blackboard—and uses the two digits to locate the proper cell in the cue chart. The first digit designates the column, the second digit the row (Figure 60). This takes nearly all the mental work out of the trick, and provides a cumulative effect that is genuinely stunning.

Terri Rogers has recently devised a presentation for "Pack of Lies" hi which a book of criminal's faces is used. This marketed trick, titled "Mug Shots", further illustrates how the underlying principle of the liar's matrix can be entertainingly adapted to items other than playing cards.

J 980

Chapter Three: Exotica

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