CL Zfwidticuwc Conception

On reading Francis Haxton's delightful effect, " Restless Choice," in the March Pentagram, I was reminded of the following, which has been a favourite of mine for some time. It is based on Louis F. Christianer's " My Favourite Trick," described in his little booklet, New Magical Conceptions, published by Thayer in 1919. I have simplified the forking, and altered somewhat the effect, which is, that of a card transposition.

Two cards! are chosen, the magician requesting that one be red and the other black, so that they cannot be : mistaken for one another. These are returned to the pack and controlled to the top. The performer places the pack behind his back, and asks the spectators to think of their cards, which he will try to find. He states that he can find one, but not the other, and brings the two chosen cards to the front in his right hand, held as one card, and facing towards himself. The pack is held in the left hand, face down, in dealing position. The magician looks at the card facing him, and if it is red asks who chose the red card, or vice versa. He then requests the name of the card, and places it (the double card) face up on the face down pack, but overlapping the right edge of the pack by about half its width, and held on to it by the left thumb. It is shown to the audience in this position.

The card is now apparently dropped on to the floor or table, face down, but actually it is changed for the second card by the following sleight, claimed as original by Christianer. This is a most useful change, and bears a family resemblance to the Down's change. ("Art of Magic," p. 73).

As the left hand turns over, and moves downwards to drop the card, the face card is drawn back by the thumb, while the second card is pushed out by the fingers, and dropped on to the table, chair, or floor, from a height of six inches or so. Personally, I find it much easier to hold the pack well down in the hand, and grip the double card between the tips of the thumb and second finger, so that only its left edge touches the top of the pack. By straightening the fingers, and drawing back the thumb, the two cards are easily separated, and the face card brought snugly on to the pack. The latter is now casually cut to bring the reversed card to the centre.

The performer states that he will transfer the card on the table invisibly to the pack, and asks whether the chooser would like it to appear face up, or face down. The answer is nearly always " face up." If not, simply turn the pack face up ! Spread the pack and show the card. Now request the name of the other chosen card, and show this to be the card on the table.

Francis Haxton's idea of removing a pencil, or other object, to place on the face down card may well be used here. This gives an excuse to place the double card on to the pack, while the right hand takes the article out of a pocket. Little touches like this help to make a smooth and effective presentation.

Sued William*? a

Slaldty &elepAMthic

The Effect.

The operator is blindfolded by two assistants from the audience and then ten or twelve design cards are chosen by members of the audience and sealed in envelopes. Three of these are chosen and numbered by the two assistants and then as one assistant concentrates on each card in turn the operator draws the chosen design on an examined slate, under the close supervision of the other assistant. Properties.

A set of design cards. Duplicates of, say, ten of these design cards. A packet of wage envelopes. A slate and chalk. A blindfold. Set-up.

(a) Three duplicates of the design cards, sealed in envelopes and in a known order, are placed in a stack under the slate which is at the back edge of the table.

(b) The design cards, envelopes, blindfold and chalk are in position on the table so that they may be easily picked up.


1. Enlist the help of two assistants and place them on each side of you, facing the audience.

2. Demonstrate the efficiency of the blindfold and let the left-hand assistant tie it on you.

3. Pick up the envelopes and let the right-hand assistant examine them and hand out ten or twelve to the audience.

4. Pick up the cards and pass them from hand to hand as you show them to the audience. Give them to the left-hand assistant, and tell him to hold the cards face down and spread them in a fan, so that the spectators with envelopes can take one card each. As he does this, take back the balance of the envelopes from right-hanu assistant, and put them in your pocket.

5. Ask the spectators selecting cards to put them in the envelopes which they hold, without looking at the cards, and to seal the flaps. Impress on them that they must not look at the cards, as at the moment no-one must know which cards are chosen, so that there is no possibility of anyone signalling to you or letting you know which ones have been taken. Take back the balance of the cards and place them in your pocket.

6. Let the right-hand assistant collect the sealed envelopes and ask him to mix them well and to choose any three and place them on top of the others.

7. Take the packet of sealed envelopes in your right hand, transfer them to the left, and ask if the chosen envelopes are on top. Ask the left-hand assistant if he has a pencil, and whilst he is getting one pick up the slate and stacked envelopes under it with the right hand, and put them over the stack of envelopes in the left hand, thus loading your three known cards on top of the freely chosen ones. Cover this by asking the right-hand assistant where the chalk is, and when he gives it to you, return it to him together with the slate, to examine.

8. Ask the left-hand assistant to number the three chosen envelopes, 1, 2, and 3, and then take them to the centre of the hall and stand with his back to the platform. As you make this request, hand him the three top envelopes.

9. Now briefly recapitulate what has been done, to impress the audience with the fairness of selection.

10. Ask the right-hand assistant to turn you round, with your back to the audience and to then give you the slate and chalk, first satisfying himself that you are not secreting anything in your hands. (There is no need to say what might be there).

11. Hold the slate above your head and direct the assistant with the envelopes to open Envelope No. 1, and to concentrate on the diagram on the enclosed card. With suitable hesitation, draw that diagram on the slate. Repeat with Nos. 2 and 3, having the assistant at your side clean the slate before you proceed with No. 3.

12. Remove the blindfold and turn to acknowledge the applause.

WILL DEXTER'S KISMET II—continued from page 75

can hand it to the audience to open and take out the slip for themselves.

I would advise making the prediction a good solid one—don't be content to predict the name of a playing card. Type your prediction, for preference; those members of the audience who know about thumb-writers and carbon paper will admit that you can't type with a Swami gimmick.

News headlines, election of officers, prize winners names, results of raffles, number of tickets sold at the door—all these make better, more convincing predictions than " The number chosen will be 82, and the card will be the ace of spades."

And please ! Don't follow this up with the Die Box or the Egg Bag, or the audience will think you are just a conjurer.

9tetm Wxvttack,&

Navigate The Astral Plane

Navigate The Astral Plane

Live Your Fantasies Discover How The Master Astral Navigator Perform Astral Projection To Live Their Desired Realities! Finally You Can Fully Equip Yourself With These Must Have Super Tools For Astral Projection Success! In this world full of uncertainty, Wars, economic crisises, killing, rape and robbery, it's difficult for one to lead a calm and peaceful life. Sometimes, the unnervingness of it all can lead to disease and complications which harm our health.

Get My Free Ebook

Post a comment