Kortially Yours


'pHE EFFECT. A pack of cards (borrowed if need be)! is shuffled and a spectator invited to select a card, look at it and return it to the pack. The latter is shuffled again after which five cards are dealt off for the spectator and another five for the magician.

The spectator is now requested to pick up his five cards, hold this packet longitudinally between the thumb and the fingers, stack them into a small packet and then do exactly what the magician does The magician takes his five cards in a similar manner and carries out these actions:

1. Removes the top card, turns it face up and then places it underneath the packet.

2. Repeats these actions with the second and third cards.

3. Turns the whole packet over holding the packet as before.

4. Removes the bottom card (which will of course be face up), turns it over and replaces it underneath the cards.

5. Takes the top card and places it at the bottom of the packet.

The spectator having done likewise, the magician now spreads his cards on the table showing that they are all face down. The spectator on being requested to spread his cards in a similar manner, finds that four card are face down, whilst the middle card is face up. What is more, it is the card he has selected.

The method is very simple indeed. After the card has been chosen and it has been returned to the pack, the performer, in the way best suited to his own particular technique, brings it to the top of the pack. Five cards are dealt to the spectator (which means of course that the chosen card will be at the bottom of the packet when he picks up the cards), and then five more to the magician himself.

Whilst the spectator is picking up his cards and the magician is explaining that he wants him to carry out actions similar to those which he (the magician) will do, he secretly reverses the bottom card of his own packet. From that point the reader, by looking at the series of actions previously outlined, will find that the rest of the trick is automatic.

When Milton demonstrated this effect, he had both Stewart and myself select cards. Sets of five cards were then dealt to the three of us and two chosen cards were then revealed.

This latter version entails more work from the magician and he will either be culling, shuffling or what have you, so arrange that the chosen cards are at numbers one and six at the top of the packet.

Editorial footnote. It gives us a great deal of pleasure to welcome another distinguished contributor to these pages. Thanks a lot Francis !

Cont. on page 50.

VOLUME SEVEN, No. SIX - 1/6. (20 Cents) - MARCH 1953


American Academy of Dramatic Arts Graduate: appeared on Broadway in several plays. Applies her acting knowledge and experience to her Magic. Past President of the Magigals Society. Wife of Sam Dreilinger and noted American collector.



^FTER my very helpful friend, Francis Haxton returned from his " Flying Sorcerer " trip last year, he detailed a plot of a trick that he had run into during a session with Ed. Mario. It was an intriguing plot, but one which did not have a fully satisfactory solution. Whilst playing about 1 did find one method using an ordinary pack which brought a kind of solution. As a point of interest to the reader, though the effect is really a mental one, the approach was made from the card side and not the mental side. Strange to say the most satisfying solution which meets all the requirements, I achieved whilst approaching it from a mental angle. That particular version I shall save for the next issue. My main reason for writing up this particular version is that during his correspondence with Stewart James, Francis mentioned the particular force I had made use of. Stewart, with that delightful attack that he has, added something else which made a completely new effect. It follows after this.

In my effect, the magician writes something upon a slip of paper, folds it and places it on the table. A pack of cards is taken and shuffled. Holding the cards in his dealing hand, the magician asks a spectator to think of a number. "As I deal these cards I want you to stop me at one before the number you have in your mind," he continues. Very slowly the performer deals a card at a time face down into the other hand until he is stopped. When this happens the cards that have been dealt are turned face up, and the top card of the pack i.e. the card at the thought of number, dealt face down on top. The remainder of the pack is now turned face up and placed on top of the chosen card. The position is now that on the performer's hand all the cards are face up with the exception of the chosen card. The pack, without any move, is now turned over and placed on the table. Now of course the position is reversed, all the cards being face down with the exception of the chosen card. The spectator is asked to open the slip of paper on which the performer wrote e'er the trick began. He does this and reads something to the effect that the chosen card will be the " ten of hearts." " You thought of the number twelve " remarks the performer . . . " is that correct," the spectator agrees. Slowly the face down cards are dealt off and at the same time counted. When eleven cards have been dealt a face up card stares up at the spectator. It is the " ten of hearts ! "

The proceedure is very simple. Prior to presentation, reverse the second card from the top of the pack at the same time noting its suit and value. Write the name on a small slip of paper, and after folding it in two, place it on the table. The pack is now taken and given a false shuffle that will make certain that the top stock of two cards remain undisturbed. As you ask the spectator to think of a number, thumb count the top three cards and get ready for what is really a false lift made under cover of a deal. What purports to be the first dealt card is really (Continued on page 50.)



American Academy of Dramatic Arts Graduate: appeared on Broadway in several plays. Applies her acting knowledge and experience to her Magic. Past President of the Magigals Society. Wife of Sam Dreilinger and noted American collector.

(From the James B. Findlay Collection).

Try to remember never to borrow anything from the audience unless such be necessary to the working of a trick. For instance if you require a lead pencil see to it that you have one. Don't annoy those whom you should be entertaining. JINX, page 419.

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