On one of the envelopes letter the word BANK. See Fig. 19.
In Space B, between partition and front of envelope, place a check written out for one dollar.
In the plain envelope in Space B, place the dollar bill. Just before doing so commit to memory the last three numbers and letter on the bill—for instance, let us say that they are 735A.
Now seal the flaps 1 and 2 together on each envelope so that they will look like ordinary unprepared envelopes.
Have check book and pen in pocket.
Start with patter:
"Have you ever had any difficulty in getting checks cashed? Well, I have, especially among strangers. In order to overcome this difficulty, I sought out a way of cashing my own checks. I did this by establishing a rapid-fire connection with the bank. Perhaps you would like to know how I do this. First of all, I wish to borrow a dollar bill, not too old and not too new."
There are three kinds of dollar bills so try to get the nearest match to the kind of bill you have sealed in the double envelope. If a new bill is offered to you, say—
"I really hate to take such a nice new dollar bill away from a man on pay day." If the bill offered is too old and frayed, say--
"This bill is pretty far gone. Haven't you one with more endurance. It is going to travel far and should be sturdy and a little younger."
The bill with the eagle is perhaps the most common type. If you do not get that kind, however, the others will look similar enough.
"A kind-hearted gentleman who thinks I look honest lends me a dollar bill without interest. Now, let's remember the number on the bill so that we can identify it later. Put these last three numbers and letter down—7, 3, 5, A."
These are the numbers on the bill in the envelope, but the audience thinks that you are reading the numbers of the bill you hold in your hands.
"This envelope will represent the bank. In it I will put to my credit the sum of one dollar—the gentleman's dollar— and then close the doors of the bank."
Fold bill in half as you did the one in the other envelope. Show envelope empty and then you put the bill into envelope or have a spectator do it. Seal envelope and place it upright in full view of every one or give it to a spectator to hold.
"Next, I will write myself a nice check."
Take check book from pocket, open it, and take pen from pocket.
"A nice check for the sum of one dollar, which I have in the bank. I could make it out for two dollars—but I am afraid the bank wouldn't appreciate it."
Write check to yourself for one dollar, making it out exactly the way you did the check you have sealed in secret compartment of BANK envelope.
"Let us place the check in this other envelope."
Show envelope empty, fold check and place inside. Seal envelope and place, upright on table or give to someone to hold in plain view.
"Now, for the secret system of banking. I need money. Do I walk up to some strange hotel clerk and ask him for it? Not
much. I might not get it. So I just say, 'Tar-ix-a-cum, Tar-ix-a-co. Oh, where, oh, where, does my money go?' Then my money flies out of the bank and comes to me."
Pick up BANK envelope, tear it open so that the middle partition rests on back side of envelope, reach in and take out check. Hold envelope with opening toward audience and open end down. After check is out, give audience a hurried look into envelope.
"See, my check has already arrived in the bank and the dollar has flown."
Give check to spectator or drop on table after showing it freely.
"Taking the other envelope in which I originally placed the check. . ."
Take other envelope, tear it open, and take out dollar bill. Show inside of envelope hurriedly. Be careful with this envelope, too, to have inner partition well up against the back side of envelope.
"We find the dollar bill which I deposited in the bank. We can easily check up this bill by the number."
Look at number and show it to audience.
"The last three numbers—7, 3, 5, A. Was that not correct, sir? Thanks for the bill."
Return bill to owner. He thinks he is getting his original bill back, but he is really getting yours. Dispose of envelopes so that audience will not get a chance to inspect them too closely. In laying down envelopes, be sure to put them down with opening away from audience so there will be no chance of their seeing the secret partition in them.
ANOTHER RUSE which I occasionally use is to mark the check in the envelope Number 7. Then in writing the other check before the audience I ask someone to call out any number between 5 and 10. Through the working of a psychological law, the number called by the spectator most often will be 7. If seven is called, say, 'I will number this check 7. Remember you had your choice of numbers. It will help you to identify the check.'
Then when you take duplicate check from envelope, call particular attention to the identification number.
If someone calls out a number other than 7, say 8 -- you may just say, "Eight—ah a magic number. I shall place this check in the keeping of eight spirits", and pay no more attention to the number.
For my professional brethren, let me say that I often have check in BANK envelope stamped with PAID mark that banks use when check is cashed; and then I prove that it is the same check I started with by the "Torn corner identification." For
the beginner, let me say that I shall explain torn corner work later on in the course. You are not quite ready for it at this stage.
In this lesson I initiate you into some excellent card tricks. I know you are tremendously interested in card effects. These I give you now are only the beginning of a list of many amazing card experiments which I have planned for you.
1 - A card is drawn from the deck by a spectator, replaced, deck is shuffled and put into the cardboard box. Flap of box is closed. Performer has spectator tie case onto left hand with a handkerchief. On command the chosen card rises from ease and drops to floor.
2 - A sealed card mystery. Deck is given to spectator to shuffle. Spectator then removes three cards from pack and places them in three envelopes. These envelopes are sealed into larger envelopes. Rest of pack is cut into two parts. Spectator chooses one envelope. Card is removed. Spectator then removes top cards of two sections of cut pack of cards and finds that one bears the suit of the chosen card and the other bears the number.
3 - The Psychologist's Dream. Deck is divided into two portions. One part is spread out and spectator thinks of a card in this part. Part is squared and laid on table. Performer has spectator draw card from other section of deck and place it in performer's pocket without looking at it. Then spectator is asked to look through part of deck from which he mentally selected a card and finds that that card is gone. Performer takes the card out of his pocket and it proves to be the card that spectator thought of.
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