Mental Card Effect By Roxy

Here is another effect on the same lines as "Percepto", specially contributed for this magazine's readers. Much more effective. 100% O.K for mental workers, and suitable, with or without an assistant.

Performer hands a pack to someone with the request to thoroughly shuffle the cards, after a close inspection, just to satisfy themselves that they are unprepared.

He turns his back to the audience and instructs a spectator to notice, after shuffling, the card at the bottom of the pack, and then to transfer from the top to the bottom, as many cards as equal its value. Having done this the spectator is asked how many cards he transferred.

When he replies, you continue . . . "Now please deal out some cards from the top of the pack, face up, on the table and at the same time naming them, until I tell you to stop". Now, when stopped at a number of cards, (say 12 or 15) . . "take the packet and place it at the bottom of the pack".

Performer now takes the pack, cuts it a few times, and then starts looking through (faces towards him) until a certain point, where he cuts the deck again. He places the deck to his forehead, for concentration (!) and names the correct card.

The working and secret. Simplicity itself, and here is the how. As the spectator sees the bottom card of the pack, which we will assume is the ten of hearts, he should transfer ten cards from the top to the bottom. When the spectator tells how many cards he has transferred, in this case ten, you instantly know that the bottom card was a ten. Up to this point however, you only know its value, and you must also know the suit, but how?

Very simple indeed. As the spectator starts dealing the cards from the top and names the first and subsequent cards, you merely remember the first card named, which will be your key card. Let us assume that the first card called is the two of clubs. You instantly know that the selected card will be the 1 1 rh card after the key card.

As you take the pack, cut it two or three times, which will not alter the position of the key card and the selected one, and, looking through the pack, faces towards you, locate the two of clubs and from now on, count 1 1 cards. The 1 Uh card will be the chosen one, but you carry on running through the pack, then stop, cut the cards and hold the deck to the forehead for concentration. Finally reveal the card, which will be found to be correct.

Using an assistant, the procedure is just the same. In this case, he or she takes the pack, proceeds as explained above finally declares the card. Any suggestions or comments would be welcomed, with thanks.

(Note. As Roxy asks for any suggestions I feel sure he won't mind my pointing out that, to ask an assistant to transfer a number of cards from top to bottom EQUAL TO THE VALUE OF HIS CARD, AND THEN HAVE HIM TELL YOU HOW MANY HE TRANSFERRED, does run a risk of being "spotted" by an average man-in-the-audience. The average man will know that he has automatically TOLD you the value of the card. Even if he doesn't fathom how you get the suit, this is half way to a solution and it maybe that fifty percent, of the effect is lost.

It is possible still to perform the effect WITHOUT ASKING THE SPECTATOR TO TELL YOU HOW MANY CARDS HE TRANSFERRED FROM TOP TO BOTTOM. As follows. Have the pack shuffled, the bottom card noted, and a number of cards to equal its value transferred from top to bottom. Now you can impress upon the spectator that you don't know the cards or its whereabouts. Ask him to take a small bunch of cards from the top of the pack, shuffle them, and call out their names, placing them in a face up heap on the table. From these cards you pretend

"BEAU K"

by ALEX McKEOWN

Performer reaches for a cigarette packet, extracts a cigarette and places same in his mouth. He draws a match from a match box, strikes the match, to light the cigarette.

Immediately the match changes to a flower, the cig in mouth is seen to be a flower, the packet of cigarettes changes to a large bouquet of flowers.

The march flower is placed in breast coat pocket, the cigarette flower is placed in the buttonhole.

The match box now changes to a small bouquet of flowers, and is tossed into a flower bowl. From the cigarette packet bouquet a much larger bouquet is produced, the two bouquets dropped into flower bowl, and performer is seen to be holding a very large bouquet of flowers which again instantly multiples to two bouquets, making a novel, colourful and flowery introduction to any performance. All props required are available from the dealers, ready to operate the effects.

Match to Flower and Cigarette to Flower are entirely mechanical. Discard the inner portion of cig packet, cut open outer packet down each narrow side, rejoin one side with a strip of rubber, paste coloured pieces of paper over all of inside packet, red yellow, green, leaving here and there white of packet showing. Fasten a folded bunch of spring flowers to the inside of the packet, close the cover, and fix with a strip of scotch tape. The breaking of the tape brings bouquet into view and hides the packet.

Bouquet in the sleeve is obtained under cover of cigarette packet bouquet. Cigarette packet bouquet is dropped from the left hand into the flower basket. Sleeve bouquet transferred to left hand, body turned to place sleeve bouquet on stand, and right hand reaches for a large double bouquet (or pair of feather darts) held under jacket in cloth pocket similar to Sunshade Production.

Two produced as one, a quick movement of right hand, with flower to left hand, and a bouquet is then seen in each hand. Bouquets placed down in stand on table, or darts dropped to floor. Flowers from Finger Tips feke would give you flowers from the air, and cover for a final Bouquet.

PERCEPTION.—Continued from previous Page.

to make some sort of calculation. Have him take up the bunch of cards, place them BACK ON TOP, where they came from, and then to cut the pack.

All you need to do is memorise the first card he calls, which will eventually be the top card of the pack, and cutting the pack brings it, (your key card) next to those transferred to the bottom. Take the pack, cut it yourself, and then run through them, looking for your key card. Having found that, SKIP the next card as you count from right to left. Now move cards along, at the same time counting to yourself, one, two, three, four etc., NOTE ANY CARDS WHERE THE VALUE COINCIDES WITH THE NUMBER YOU ARE

COUNTING. In Roxy's illustration, on the count of ten a ten would turn up, and that would be the card.

It is possible in this method that two or more cards will coincide with the count, but it is an easy matter to eliminate one card or the other, in your final divination of the card, Suppose a 'three' appeared at the count of 3. and a 'seven' at the count of 7, the first a diamond and the second a spade. A simple question like, 'Your card was not a red one was it?' and according to the answer, you know how to proceed with the naming of the correct card of the two. To my way of thinking, this is much better than asking the spectator to, literally, tell you the spots on his card. Or is it? What do you say, Roxy?—George Biake)

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