Easydetermined Hour William Zavis

This was excerpted from a letter written by William Zavis and sent to Jon Racherbaumer on July 10, 1971:

The Predetermined Hour effect can be done without a set-up.

After the cards are shuffled, get a glimpse of the 13th card by any of the suggested methods. Have the spectator think of an hour, then cut off and pocket the corresponding number of cards (after you have stuck the Joker in your pocket, as in Marlo's routine).

Deal off 12 cards, reversing them in the process. Deal them out in a clock dial, starting at one o'clock, but deal them face up, counting to yourself as you deal. Note at which hour the previously glimpsed card fans. Let us say it is five. You must now find yourself a Five. If there is one in your layout, you can palm it off when you gather up the cards. Otherwise, you ask the spectator to note the card at his hour and to point it out to the other spectators after you turn your back. If you need extra time you can have the spectator gather up the cards after pointing out his while your back is turned. You, of course, are quickly running through the rest of the deck and finding a five, which you then switch for the Joker in your pocket as In the original routine. Since the spectator is making a mental selection there is no reason why the cards should not be laid face up.

The student studying this manuscript must also study his audience and how they react to various methods. He must also note whether audiences can discern the differences found in each effect. There are certain conditional procedures, if acknowledged by an audience, that create a tore puzzling and creatively artistic effect. Some of the conditions are as follows:

1) Whether the deck is borrowed or not.

2) Whether the spectator or performer shuffles prior to the effect.

3) Whether the cards equal to his chosen hour are cutoff or transferred to the bottom of the deck.

4) Whether the performer keeps his back to the spectator, how often and when,

5) Whether the 'clock dial cards'' are dealt face-up or face down.

6) Whether the talon remains on the table or in the performer's hand while his back is turned).

7) Whether the selection is named (mental) or tangibly disclosed (location).

There are other details besides the seven listed above. If these conditions are pointed up or are obvious, it's logical that the more aware a viewer becomes of the circumstances of a given effect, the more he is going to follow its implications and consequences. In the end, if he's puzzled, the challenge and subsequent appreciation of the effect is increased and enhanced.

To briefly conclude on this point, an efficient method is usually one in which the salient points frequently remembered by the layman are easy to do and effortlessly direct. Professionals often take this route. The purist never does.

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