Bring out the coin and lay it on the palm of the right hand, being careful that the tape is underneath. The hand has a natural hollow at the centre of the palm which persists even when the hand is stretched out absolutely flat. The tape should lie over this hollow, thereby being free of any adhesion. Let the coin be seen, then close the fist. The position just prior to this point is illustrated in FIGURE 16. Note that the cuff should be well back out of the way, to obviate (he old cry As the fist closes, turn il sideways, still resting on I he table, the little finger side of the fist downward. The fingers should be so arranged that no pressure whatever is exerted on the coin.
Still keeping ihe fist clpsed lighily. Jet t.he CÖärtdrop down towariis the lower end o( ihe cavtty within whieh it resis. The angle of the eoin, beeause oi' the peculhr stmeturc of the human hand, will he more upright than the band itself. 'I'his is shown in FtGURF- 17, Ii is advisobJe, by the way. to have tlie audienee fachte in the directum of the schematie eye in Figunr 17 ■ hui nowherc near so dose. Front that side. the illusion ts periect.
Now turn the hrtnd down, the back of live hand going uppermost, As vou tio this, slide Ihe hand siightly to the lefl, letting Ihe cohi emerge at the side ol the lilile finget and lie on the table, slieSty side upwards. The hand is on the table, clenched in a fist, so che coin is perfectly concealed.
Now roll the hand over, I lie back going under, the lingers upwards. Make this a definite rotting action, keeping the hand in contact witit the fühle all the time. When the turnover is complete, pause for a moment. Press the back of ihe hand firmly on to the: coin, making h slick. NTow lift the closed hand
slowlv up from the table, and as il moves, no more Ihan a couple of in#efc start to open the finger*. Let tha jtand open right up m ^d bMa^ the coin is no longer m your hand, „or is it on <he table, as everyone can clearly see. Lei [he empty hand be elearly seen, wilh the linger spread. The com ad litres comfortably on the hack of the hand: ^e the lower part of Jrjuufe 17 When you have made ytnu point and the vanish has been briefly enthused over, go to the right jacket pocket wUh the hand and bring <mt it duplicate coin at the rmgerttps; the adhesive coin is brushed off against the lining, of course.
There are few cleaner and easier vanishes. There is not a lot to go wfonp. Just watch the angle of The hand when you lift it from Hie table. As most eyes will (or should} be looking slightly down on your hand, there is very little danger of exposure al this point.
Try if out right now. It even fools children, so it must be good.
It was never A) Koran's practice to set out deliberately to fool other magicians. With this trick, he inadvertently fooled lots of them.
It's Ihc cap and pence, the old version made famous by Nate Leipzig, where you use a fake stack of coins and a liltlc leather cone. AI did something to the trick that revolutionised it; he added a piece of thread to the stack,
Get a stack of the kind which is riveted through one side, 50 that the coins. centrcJess usually, can be fanned. Fan I hem open and at the centre of the stack, insert a piece of thread with 3 knot In the end. The knot will ensure that the thread stays where you put it. Close up the stack, trapping the end of rite thread between the edges of the coins at the centre of the stack.
Now you need to experiment a little. The length of the thread will vary in accordance with your height, width and so on. For a start, try 0 piece ten inches long, Attach the free end to a safely pin. Your set-up should resemble that shown in FIGURE 18. Here a bent pin is shown; it is less sophisticated than safety pin, but if has the merit of quick placement and similarly quick removal. Please yourself on this point. The pin is attached to the lining of the jackct at the left hand side, at a point just forward of the armpit section. Hie standard tuck can be performed with the coins set up this way; il is only neccssaiy to limit the movement of the left hand, and the routine allows for that anyway.
You ask for a loan of some coins (the same number and denomination as those in your stack J. fake these and form them into a slack, at die same time fumbling around in the inside of your jacket, as if looking tor something. In fact, while your right hand is searching around, it comes into contact with the coin stack inside your jacket. As the right hand holds the reid coins, it is not seen as at all odd when il emerges from tiie folds of your clothing still holding the coins. What is on view now, however, is the faks stack, if your thread is no more than reasonably fine and jet black, it will not he seen as easily as you might think. The real coins are held within the curled right fingers. With the left hand, go to the left jacket pocket and bring out what they all imagine you were looking for before; your little leather cone.
Bend the left elbow and hold the left hand flat, palm down, at chest height, and slightly to your left. Lay (he stack on the back of the hand, allowing Lhe thread io hang over the side of the hand. Be careful not to bind on the edge of the jacket - movement of the left hand to the right will correct this. In Leipzig's routine he used two small dice. One was inside the slack, the other on top. What appeared to happen was that (he coins vanished, leaving just one die on the haek of the hand. What realty happened, in fact, was that the stack and the die on top of it were stolen away with the cone, leaving only the duplicate die behind. If that is the routine you like, by all means use it. Our primary concern here is the handling of the slack vanish.
The small leather cone is placed over the fake stack, and you say that you will cause the coins to fall through your hand (another variation used by Leipzig, we are informed). You tap lhe tips of the left fingers with the forefinger of lhe right hand three times, and on the count of three, the right hand releases its load of genuine coins and they hit the table with a lot of noise. The audience are startled, then suspicious. The little cone Is still ominously perched on your left hand. Is there anything under it?
Squeezing the sides of the cone, so as to gain a purchase on the stack beneath it, you lift it away and extend the left hand in the same move. In the meantime, the right hand drops to a point near the edge of the jacket opening, the top of the cone pointing forward, away from you. Release the pressure on the sides of the cone as you feel the tension on the thread, and let Ihe cone drop to the Hoor or table, whichever is handier. The stack will be taken clean away in a pendulum action, inside your jacket. Both hands, no more than two seconds after the cone is lifted away, are seen open and empty. The spectators are completely mystified.
And The magician $ In I lie audience arc wondering how you ditched (he slack. Formerly, it was necessary to palm il, but the advent of modern miracles like sewing thread have done away willi all that.
if a conjuro? is rude enough lu ask you where you pul the stack, just look pulled and say, "What .stack?"
Whenever a Irick of a risque nature appears on the market, you can be sure that the instruction will warn the purchaser to use discretion in the performance of the item. There is a long tragic history behind such warnings. For some reason, when magic-touches on any tiling that is socially delicate, it has a habit of degrading it - and the whole of magic along with it. There is no need for this, of course. It only requires a little taste; since there is a tradition of vaudeville in the fabric of conjuring, it is regrettably a fact that good taste is not a label that could be hung on many of the so-called 'stag' tricks.
On the face of it. this trick, devised by A1 Koran on the basis of an idea somebody gave him, is as tasteless as the others of its kind. Its plot centres around the Birth Pill or, more accurately, the Anti-Birth Pill. As it happens, though it is very funny and it has a surprisingly magical finish. I have no hesitation in recommending it, and I might even add that you don't need to be careful where you present it. If anyone finds the trick offensive they shouldn't be out and about in this wicked world. Naturally, it isn't for children.
To make the effect up, you need the following: a standard thumb tip, two sponge-balls, about two inches in diameter -one red and the other blue, six miniature plastic baby dolls (lots of shops keep These, they are about half an inch long and made in pink flexible plastic) and finally, a piece of cord elastic.
Drill a hole in the nail-end of the thumb tip and pass the elastic through it. Tie a knot in the end of the elastic that goes in last, so thai you have a pull. The sponge balls are carried in the right hand jacket pocket, the babies are in the left Irousers pocket. The pull is attached to the waistband of the trousers, just like a silk or cigarette pull. The complete set of props is shown in FIGURE 11>,
PRESENTATION AND PATTER:
"I hate to bring up the subject, but have you seen all this stttfl in the papers about the Pill? Everybody's talking about it. My wife even invented one of her own, it weighs half a ton. She rolls it tip against the bedroom door at nighl and 1 can't get in! Out the strangest thing I've heard lately is about a woman wlio had all her different pills including her birth pills -colour-coded, so she could tell one from the other."
Bring out the two sponge balls and lay them on the table.
"Hut, the inevitable happened. One day she was confronted by two pills, one red. one blue, and she was confused. One was lor headaches. I he other was the Birth Pill. Red, blue, she couldn't make up her mind. So, she decided to take them both, p(,iy double safe. Uui she couldn't stand swallowing pills at the best of rirncs, so she put one away in the cupboard ..." Mere, you put one sponge ball in the left trousers pocket, picking up the pull on the way back out. "And swallow the other one. She had a hit of a headache, anyway, so she thought, if my headache clears up. I'll know I took the pain killer. So. she swallowed the blue pill,"
Tuck the sponge ball into your fist - the left one. where the pull is concealed — and poke it right down to the bottom of the pull. As you jab it the third time, let the pull go. Keep the
six of these
six of these left liand resting on the table, stiLI closed, as if it still held the
"Her headache did go away, so she thought, fine, 1 took the pain kilter. The pain had simply gone ..." As you say this, open the left hand. Letting it be seen clearly empty.
"A little later, when she felt she could stand up to it. she decided to take the red pill, the one she was sure was the Birth Pi!!." Go to the left pockei and grab the plastic babies, Due to the way they are made, they bundle quite nicely and take up very little room. GeL the other sponge ball at the fingertips and bring the hand out, picking up lite pull again. If ail that seems a lot to hold, be assured that, it takes up very little space and is in no way difficult. The time taken should be covered by the patter, aud should be no longer llian a couple of seconds. Place the closed left hand on the table, the sponge ball still at the fingertips. As you talk again, let the ball roll on to the table. The pull is so placed that the babies are between it and the palm of the left hand.
"She made up her mind, there and then, that in future site would keep a tisl of which pills were what colour1; two in one day was her idea of hardship. So anyway, as I said, she look the Red pill____"
Push the red ball into the left fist, ramming it firmly inside the pull; there is plenty of room for two two-inch sponge balls inside a large thumb tip. Lei l ite pull go while you are pushing the ball, and retain the babies. The first stays shut, of course, for the moment.
"Next morning, al breakfast, the lady was telling her husband about having to take all that trouble . . . two pills in one day, just because she gol confused, Her husband frowned. What colour pills were they, he asked her. Blue and red, she replied, headache and hirth, LJIiult, said her husband, shaking his head. Blue and red . . . that's headache and backache . . . Birth Fills arc green. The woman nearly fainted!"
Lean closer to the spectators, letting your hand slide to the middle of the table. "You know what happened, don't you?" you say. Then, opening your hand and letting the babies spill on to the table, you wink and say. "She wound up with another headache!"
There's nothing to add, except one tiny snag; you'U probably have to remove the first sponge bail from the pull with a pin — it gets pretty tightly packed. Small trouble for such a great little novelty.
THH WIFE'S FAVOURITE.
AI Koran said that, of ail tJie card tricks lie; performed - and they were numerous - the one which follows was his wife's favourite. In thci, it was just about the only one she liked. Such clear-eyed pbjeoLivit>- does nut come easily. The number of men wJio have driven women from their company by showing them magic is alarmingly high. Women know to avoid such men, just as it is advisable for any magician (or layman, for that matter) to give wide berth to any lady who actually professes to like magic. Something in the female psyche does not Lake kindly n> being fooled; maybe :i subconscious element tclJs her that mystery and duplicity art: her territories, not a man's. So it is all the more amazing lo come across a trick that is not only tolerable to a woman, but which is actually her favourite.
The effect is not new. It has been published before. It is included here because Koran proved its effectiveness time and time again. Perhaps those wlio overlooked ii before will give it a trial now.
Have a card selected and control it to the top of the pack. I presume you know how to do that, Give the pack a false shuffle isr two, retaining the top card in position,
"[ want to try to find the card you chose," the performer tells his spectator, and follows the remark by dealing the tap card on to the table. Thai lakes care of its whereabouts, "i want to have four chances, if you don't mind." Three more cards, from various parts of the pack, follow the first one on to the table. You keep track of the chosen one, of course.
"1 want you to hold out both of your hands, palms upward," the performer continues. The spectator does as requested, and the performer picks up the four cards from the table, placing the rest of I lie pack aside. When the four cards are assembled in a flush packet, the chosen card is on top. with the cards face-down.
The small packet is held face down in the left hand, the back of the hand upwards, the cards being held in position for the Glide. "Is this your card?" The performer shows the face card of the packet as he asks the question, and tilts the cards down again as the spectator answers no. The face card, face-down, is placed on the spectator's right hand.
'The next one goes on top," the magician says, slipping off the new bottom card and placing it on top of the bundle, fie then shows the face card of the packet again. "Is that your card?" Of course, it is not, and apparently the performer takes it off the stack and puts it on the spectator's left palm. In fact, the bottopi card is Glided, using the left Lingers, and the second-from-bottom card (the chosen card) goes on to the spectator's right hand.
'The next one goes on top," the performer says, again, suiting the action to the words and taking the bottom card out and laying it on top of the other one in his left hand.
The face card of the remaining pair is shown, the spectator is asked If it is (he chosen card, and on being told that it is not, the performer lays it on the card m the right hand of the spectator. Finally, the last card is shown. "This must be it, if none of the others was it," the performer says, a shade of annoyance creeping into Iiis tone. The spectator says it is not the one. and this filial card is laid on top of the one on his left hand (on top of the chosen card, that is).
Disbelief seizes I tic performer. He picks up the top card from the spectator's left hand and shows it to him (or her}, "That's not it?" he asks, stridently, unbelievingly.
"No," says the spectator. The top card from the left hand is picked up and the same question asked. Still not it. The remaining card in the right hand is picked up; "Surely that is your card?" Sorry, thinks the spectator, and by this time he or she will be feeling like a heel.
The spectator has one card left, lying on the left hancl.
"What was the name of your card?" asks the magician. The spectator names it. "And what card is that you are holding in your hand?"
The spectator turns over the solitary card. It is the chosen one,
Pure delight. Old or not, it is a trick to cherish and use regularly. That the spectator actually sees one card twice is not noticed at all. He is looking for his chosen card, not memorising the others. Learn it and use it.
A magician will gain much more of a private reputation if he can give sure evidence of a talent with cards, rather than a touching ability to make brass nuts come off bits of string. This effect is offered in pursuance of that aim, to give the reader a private cache of tricks that lend him the air of a cool, big-time card handler.
Some preparation is necessary. It is as well to perform a few card tricks prior to doing this one; have two packs with identical backs (both the same colour too, of course), and after the regular deck has been pocketed, find some excuse to bring out the prepared duplicate. Afterthought is as good a reason as any.
Now, although the pack is prepared, there is no chance of this fact being discovered. The set-up and disarmingly clean handling are designed to make it all look very fair. Remember, too, that the audience thinks you have been using this same pack lor your previous miracles. Here is the set-up:
Remove all the picture cards from the pack, plus all the Tens, and all of the Aces. Now you must proceed to stack them. The stack is regular only in regard to suit; other than sticking to that stipulation, any card values may be juxtaposed. Say you decide to rotate the cards in Clubs, Spades, Hearts and
Diamond a order. Start With any dub from those you have remoml fiom the pock, then fieri cat Ji it put ;;ny hear I. then any Spade and any diamond Do thi> Until the cards have all been si it ckeil. Now insert this block into the lower part of the pack and put the pack in its ease. You ure ready.
fell itic spectators that you will show them how to get a perfect Poker Hand. [land the eased pack to it responsible-looking individual and ask him to remove the cards from the case and give the deck » riffle shuffle. Watch him do (his, nod your approval, theti ask him to assure htmsell thai he has mixed them :ill up. He spreads Mil- pack and t^ convinced.
The slack is now distributed throughout both Mves of the pack. Now tell your spectator to hand the pack to somebody else (the performer should nominate the second person, just in case of mishaps t. This person is U>ld to turn the pack face-upwards and to start going through it, throwing on I all of the Aces, Kings, Queens, Jacks and Tens as he comes to them. I ell liiiu to take his time.
When this is done, Lhe stack is reslored, of course, but this is not at all noticeable, since there is no apparent sequence to the cards.
Pick up the stack and square the cards, telling rhe spectator to Jay aside all of the other cards. Turn the scared packer, lace-down in your hands and give ihem n cut. Offer them for somebody else to cut, and one more luue to another person. Recap on what luis been done. The pack has been riffled hy one man, anothei has taken out lhe random Court cards. Aces and Tens. These have now been bundled together and cut three times, So far, all is as random as it could he so it seems, anyway.
You now proceed to deal four hands oT five cards each, placing the last one in front of yourself, the others In front of
actual spectators Hi" you have that many),
"Now look." you say. turning over your handT showing that, despite all the random handling, you have a Royal FLuali. "I've go! my sell a beauty 01 u hand. ehV" Pause for effect, then sayL "The trouble is, I'm so good at it llial I've given everybody one!"
Flip overall the other hands. They, too, are Royal Fleshes.
l he effect is reassuring. People will be so certain that they saw a!J they needed to see that they will go away and try it fqr ihem selves, thereby strengthening your re put at ion. This is a very commercial effect.
When you are doing impromptu magic in a room full of people, one element Can always be depended upon. Smoke. The air is invariably filled with it. There is no smoke, as they say. without fire, and no lire without lighters or matches, This trick therefore uses something they will all be terribly familiar with, matches. 11 is a quickie amd very battling, and wastlevjsed as a result of Al Koran's eternal practice of making magic out of the most unlikely objects.
Knitting needles, on both sides of the Atlantic, are commonly held in pairs by u small plastic tube, about an inch and a half long, of oval section. Two of these are needed, plus some matches, prepared as follows.
Get a box oT wooden matches, and remove eight of them. Leave two the same colour as they are. With poster paint, make the heads of two matches green, another two yellow and the final pair, white. Dip the heads into the paint, making sure you get a t":nrly thick coat, he sure that they dry in a shape that still looks like a matchstick. This procedure is preferable to locating matches with these- actual colours because, although you may get heads of the riglit colours, tt wdl be nearly impossible to locate slicks that are the same length and shade.
Right, so you have eight matches. We will presume the
Mi-retouched pair have red heads, white you have a pair of green, a pair of Yellow and a while pair.
To the end of each of the little plastic tubes, attach a length of nylon, about five inches long. Do this with a needle and secure the nylon to the tube with a sound knot. Then, to the free end of each piece of nylon line, attach a piece of cord clastic On the free end of the elastic, attach a small gold safety pin. You now have two match pulls, and I'm willing to bet that not mony of you have ever heard of a match pull before. Attjieh the pins to the lining of the jacket sleeve, at a point that suits you. The tubes, for guidance, should hang just inside beyond the edge of the coat cuff, when the arm is extended at the side That way, the pull stays out of sight, but can be brought down without undue trouble when needed.
Now, two matches, side by side, fit snugly within the little plastic tubes. 1 know that the tubes vary in size, but as long as the needles they surround are riot of flagpole thickness, the remark about the matches fitting snugly will hold true. Just Iry it out to be sure you have the right width of tube, anyway, Give the pulls a try-out. Pull them both down into the hands, and hold them in the curled lingers, the tip of the thumb pressing acainst the second joints of the fingers. Have somebody put two matches between the lip of the thumb and the curl of the index finger of each hand. Tell them to push them down into the hands and, you will be gratified to find, Lhe matches go right into the lubes.
With the matchstieks held firmly in the puJJi, raise both the thumbs and push down the heads of the matches. As the heads vanish from sight inside the fists, let the pulls go. continuing the downward movement of the thumbs. No fuss, no sound, and no sleeve-wobble, thanks to the lightweight nature of the gimmicks. Figure 20 and Figure 21 show the gimmicks and thu grip prior to the vanish.
Now, this is a reo J ouickle; Naturally, the í nils have: to be in position before you start. but Lhat small In convenience is worth it, just to see Lheir l"aee,s when you've done the trick-
Leave a small manilla envelope on the lable early in the evening. Inside it are four matches; two red, Iwo white.
When you decide to do the trick, get off into a corner where you can bring the pulls down into position. Also, deep within the crease formed by the curled fingers of each hand, have two matches. ., two Yellow in the left hand and two green in the light hand. They will stay there independent Of the presence and action of the pulls.
KOflAK B LEGACY
Go back through I he Throng in the room md draw attention to the ominous lit tic envelope. AÉk someone to open it and tip oüt the eoruenis on LJie table. Lei everyone look iff ihe matches for a while Ll<en say, ^They're rather special. They have the power of mass-transference, self-motivated,." Look around, as if you had said something fairly ordinary. Tn othfer words," you add, in response to the vacant stares, "They can move around on their own."
Bring forward your clenched flsts, Ihumbs uppermosl. "I want somebody lo pul any two matches in my teft hanil," you go ¡>n, "ll ean be any lwe¡ . . . the red pan or the white pair," Leí íl speclator put the matches into your Jeft hand, being sure ttial they lócate firmly in the smal] tube. Due lo the fact that the space h filled by ihe tube. the matches do not teally ha ve anywhere el se to go, Le ave the heads sticking up for the momenl Now ha ve the otlier t.wp matches placed simllarly into the (jght hand,
"Now for the miracle," you say, stepping forward, hands low and extended. The matches will change hands, in an instant." Push the matches down with the thumbs and let the pulls go up the sleeves,
''Watch!" you say. and turning the hands back upmost, you open the fingers. "The yellow and ijj:een matches land on the tabic. Look up, the palms of the hands turned up to indicate their innocence. 'That's fantastic" you say, in a voice filled Willi awe.; "They change colour, too!"
11 does not read like too much, but that is the ease with so many realty strong items in magic. Don't forget, either: the pulls can be used as very effedive vanished tor a straight disappear nee,
I'LL FIND IT
This is another card trick, Jt lias the distinction of fitting comfortably into the category of mentalism, yet it is a good deal more direct than much of [he published materia] in that brunch of the craft.
The description will not take up much space. Give your pack to a man and tell him to shuffle it. Next, explain that you want liim to keep a number in his head. 1( can be any number up to twenty, but emphasise that he must not just decide an liii number in a flush. He must consciously decide upon one. In a moment or two ask him if he has got a number locked in his head. When he says that he lias, tell him next lo count down to that number in the pack .. , the pack which he has just shuffled. You will cross the room and turn your back while he does this. When lie locales the card at his number, he is to leave the card there, after noting it. and square up the pack. Be sure lie knows what lie has to do, Go to your far corner and wail for your instructions lo be carried out.
Allow a count of twenty in your head, then ask if the man has done as you asked. When he says he lias, return to him and take the pack, delivering the following patter, or any variation you like, so long as the meaning is the same.
"You hold two things in your head, a number and a card. I
cannot know either of these. The number was your own choice, so was the card. You gave (fje pack a shuffle before we started, so I lie cards are in random order, decided by your own Shuffling. AC no time until now have I even touched the paek-What 1 nut going to try to demonstrate is thai, because the number and the card lire so prominent in your mind at this time, 1 can use wllat sensitivity I possess to locate your card. That is what t shall now try to do."
I'laee the cards behind your back immediately take ihe bottom eard and place it cm the Lop of the pack. Next, withdraw the new bottom card and brine It round, with the face concealed, and openly put it in your jacket pocket. "1 think 1 [lave found your card," you say. bringing the pack to the front again, "We shall know in a minute. What was your number, sir?"
Presume he says fifteen, for description s sake. "Fifteen. Very weiJ, if 1 was wrong, your eard wUI still be ihere, Let's see." peal off fourteen cards on to the table, counting aloud and clearly as von go. The fifteenth card is placed, sliU face-down, in front of tlie spec La tor. "Is thai your card','" you ask him. The pack is in lliu left hand. She right hand palm-downward Just above it. As tht- spectator turns over the Card in iron of him. your left thumb assists m placing the l.op card of the pack into your right hand. In other words, it is p<iliued, deliberately as you tike. No one will see it, because, apart from the cover and angle being good, everybody wants to see what happens when ihe man turns over that card on the table. He turns ¡1 over .and says it is not his card. The eard he seeks, of course, is in your righi hand.
Srriile and stick the right hand in the jacket pocket, withdrawing it again with the patmed card at the fingertips; the back is towards the spectators. Put down the pack to one side and say, "What was the name of your card?"
"Seven of Diamonds," we'll suppose he says.
Without another woid, you turn over the card you are holding. The seven of diamonds. You are a mind reader.
THE EYE OF THE BEHOLDER.
I am closing this suction with what, to my mind, is one of the most impressive of all the many tricks used by Al Koran in private. It is a joy to witness and an equal pleasure to perform. There is no sleight-of-hand, no intricate moves and not even any misdirection worthy of the name. In fact, it is automatic, but it makes the performer look very clever indeed. Essentially it is an old (and neglected) principle, updated and dressed to become a priceless piece of entertainment.
You will need a pack of cards, two little boxes of the type used for packing jewellery, and a glass eye. Don't worry if the eye presents a problem, get a doll's eye or one from a teddy bear. Just so long as it looks like an eye, the kind of eye is not Important.
To perform the trick, have the two boxes, with their lids, lying on the table. The glass eye is between them. The cards are in their case. The only preparation where the cards are concerned is that you know the value of the twenty-sixth card from the top of the pack.
Open the card case and hand the cards to a spectator. Tell him to take off a packet from the top of the pack, and emphasise that it has to be a quick action, he must not know how many he has taken. As soon as he takes the cards, he is to
drop Lliem into the box nearest him and cover it with its lid. You turn your back while he does this.
Next, when the cards arc shut in the box, explain that you and your third eye — the one lying on the table — are going to try and determine something. Just what, you will demonstrate in due course. Ask another spectator to deal you off half of the total pack ... twenty-six cards. Do not be deterred by thinking this number will cause any speculation. It will not. You first say 'half of the total pack', then you specify the number, almost as an afterthought. The only thing you must watch is that the cards are dealt down in the proper way, that is, second card on top of the first card, third on second and so on. The order is reversed, in other words, in the normal dealing-off procedure.
Square up the twenty-six cards and lay them face-up in your hand. Tell the spectator who put some cards into the box to pop your glass eye into the box and shut the lid again. Then say. "My third eye is working, right there in the dark box. It is transmitting to me ... " Casually start dropping cards on the table, watching for the noted card to make its appearance. When it shows up, stop discarding and drop the cards you are left with into the other box. with the noted card on the face of the packet.
Now ask the spectator to take the eye from his box and drop it into your box, after which he is to put on the lid. When he does this, stand still, a faraway expression on your face, and say nothing. Laughter of some kind will ensue in due course. That is fine, for it is a rather humorous Lrick. Say, "My eye wants lo tell mc something ..." and clasp your hand to your forehead. "Oh." you exclaim, your face clearing as you appear to comprehend. "Would you open my box and take out one card, please?" The spectator does as you ask. and you walk a short distance away.
Indicate two people who have not yet helped. "Would you, sir. pick up iny box and the other gentleman, pick up the other box. Thank you. Now. for the first time, count the number of cards in my assistant's box." A count is made and twelve cards (say) are found.
"Twelve. Now sir, if you would remove the eye carefully from my box and place it on the table, 1 would like you to count the number of cards in my box."
The spectator does this.
"How many cards arc there, sir?"
It works automatically. Just make sure that less than twenty-six cards are taken by the spectator at the beginning. When you discard, you will know that, when you have removed all the cards up to and including the noted card, you will have the same number as the spectator. The presentation is what takes this out of the mathematical class and turns it into a trick. Have fun.
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