We THFRD EYE
This is an effect of divination and the method may be used in a variety of ways. A colour, number, name, date, geometric design or anything you wish may be divined using this principle. It can also be used in a book test very effectively, using any book which happens to be at hand.
The only properties required are about a dozen white blank cards of a stock similar to that used for visiting cards, and in size about as long and slightly narrower than a playing card. With these in your wallet and a writing instrument to hand you are ready to perform at any time and under any conditions.
As you commence your spiel regarding the power of the Third Eye remove the cards from your wallet, and as you continue to patter pull the top and bottom two cards through your fingers snapping them as you do so. This action is necessary in order to loosen them, as unlike playing cards which slide easily when taking them singly from the top of a packet, most other card similar to visiting cards tend to cling which would impair the performance of the move necessary in the routine.
Assuming that you are going to divine a geometric design drawn by a spectator, hand out a card to someone requesting him to draw a simple design on it — a square, circle, triangle or whatever, taking care that you cannot possibly know what he has drawn.
Extend your left hand, which is holding the packet of cards, towards him requesting that he places the card with side bearing his design face down on top of the packet of cards, keeping your head turned away until the card is on the top of the packet.
You now look directly at the spectator (do not look at the cards) and obtain his assurance that you cannot possibly know what he has drawn on the card. At the same time your right hand appears to remove the card from the top of the packet in reality taking the bottom one and holding it towards another spectator ask if he can see anything through the card. You then place the card onto the table.
The move of taking the bottom card when appearing to take the top one is achieved as follows. The right fingers covers about three quarters of the card which is on top of the packet, the thumb going beneath. The right fingers appear to slide the top card back clear of the packet, when actually this card remains in situ whilst the thumb pulls out the bottom card. Card workers will recognise the similarity between this action and the first part of a well-known colour change sleight. The move is a simple one and can be acquired with little effort and may appear to be a bold one, but the spectators whose minds have directed spectators whose minds have been directed by your manner and patter will be concerned with making sure that you have no opportunity to see what has been written on the card. Being so misdirected they will neither see or suspect the switch of cards.
You now turn over the two top cards as one bringing--the spectators design face up second from the top. On the top card draw a circle which you explain represents the Third Eye. Remove this card and hold it to the forehead with the circle outwards, and at the same time glimpse the design which is exposed. As the Third Eye Card is removed turn the packet over bringing the spectator's design face outwards on the bottom of the packet. Obviously this design is kept hidden from the spectators.
The spectator is now asked to gaze into the Third Eye which you are holding to your forehead and imagine he can see his design within the circle. You then remove the card from the forehead and draw the spectator's design which you have glimpsed inside the circle, and without letting anyone see what you have drawn place it design downwards onto the table and request the spectator to cover it with his hand.
Now pick up the blank card from the table and place it on top of the packet of cards stressing the impossibility of you knowing what was drawn on the card. The spectator is now invited to see what you have drawn in the Third Eye. As everyone is intent on seeing what you drew in the circle perform the 'move' and throw the card bearing the spectator's design onto the table revealing the power of the Third Eye.
A card is chosen and returned to the deck, following which the four aces are removed from the deck and displayed in a "pyramid" formation. Thé aces are squared and upon being redisplayed, the ace of the same suit as the chosen card has changed into that card.
This is purportedly a Hofzinser card plot and is similar in effect to the "lost ace" trick of Jack Avis which was published in Epilogue 11.
Have a card selected and holding the cards in the right hand begin a Hindu shuffle, stopping when about one-half of the deck has been shuffled off; have the card replaced on top of the cards in the left hand. As the cards remaining in the right hand are placed atop those in the left, move the left little finger into the gap between the packets; immediately regrip the cards below the break and draw them backward. The selected card remains in the left hand as a result of the friction applied by the left little finger. The cards in the right hand are now Hindu shuffled onto those in the left. The selected card is at the bottom (face) of the deck. This effective card control is J.B. Bobo's and appears in his book, Watch This One.
During the selection and control, I usually begin the patter by asking to have a card selected so that I may demonstrate a trick called the pyramid aces. I explain that the reason for this peculiar name will become apparent as the trick proceeds.
At this point the pack is held in the left hand and the right hand grips the back edge between the fingers on top and the thumb on the bottom. The outer end of the deck is rotated downward so that the backs are toward the audience. The left hand retakes the cards with its back toward the spectators.
Note the suit of the face card, the chosen card, as you spread the cards from the left hand into the right keeping the backs outward. The four aces are up-jogged about one-half their length as you find them. The aces must be removed from the deck so that the ace of the same suit as the selected card is innermost, i.e. facing you. If it is not the first ace located, you can simply strip it out and then come back to pick up the others behind it. As the aces are being removed from the deck, get a left little finger break above (if the deck were face down) the chosen card. The aces are then placed on the face of the deck on top of the selected card.
Patter that you must sort out the four aces so that they can assist you in finding the chosen card.
Tip the top of the deck down so that it is face up. Remove the first ace by gripping it between the right thumb at the inner end and the tip of the second finger at the outer end. The index finger is curled, touching the centre of the ace. The ace is dropped to the working surface from a height of about 2 or 3 inches. This procedure is repeated with the next two aces. The fourth ace, with the chosen card hidden behind it is removed and dropped-in the same manner. If the cards are released smoothly and parallel to the surface, they will fall as a single card. This action is most effective in convincing the spectators that only the four aces are being removed from the deck.
Place the deck aside, gathering up the aces so as not to reveal the selected card second from the face. During these actions ask the spectators if they are familiar with pyramid power of pyramidology. Indicate that they are about to see a demonstration of the mysterious forces of the pyramid using the four aces. As you relate the latter part of this, casually count off the aces, held now with the centre of this packet's left long-side pinched between the left thumb on 'top and index finger below* in the following manner. Pinch off the top ace between the right thumb and index finger and carry it to the right counting one; return and obtain the second ace in the same fashion, but on top of the first, counting two. Return the two cards in the right hand to a position below those in the left but above the left index finger. The left thumb now pushes all the cards but the bottom one into the r ■
right hand on the count of three and then places the final card on top of the right hand cards on the count of four. This count is a modified Jordan count, which positions the selected card in the middle of the five card packet, while seemingly showing only four cards.
Ask the spectators if they have heard of placing dull razor blades beneath a small, cardboard pyramid to sharpen them, or of placing a translucent pyramid over a house plant to focus cosmic energy thereby causing the plant to become bigger and stronger. This line of patter can be greatly elaborated on if desired.
At this stage turn the packet of aces face-up and perform the Ascanio spread. This is very well described by Fred Robinson in Pabular, Vol.2, Number 2. Briefly, the packet of five cards is held face-up between the right thumb and second finger across the right narrow ends; the left thumb on top and index finger beneath pulls the top and bottom cards to the left. These two cards are spread slightly and the third finger of the left hand contacts the new back card of the packet pulling it to the left of the first two cards. The right hand moves the final two cards as one to the back of the three card fan.
Refer to this as a pyramid formation which will impart special powers to the aces. Say that one of the aces has to be of the same suit as the chosen card. As the suit of the chosen card as you close up the fan of cards.
As the spectator answers, do another Ascanio spread which will reveal the chosen card occupying the position formerly occupied by the ace having the same suit as the selected card.
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