A RECENT poll taken at a number of British
Goodliffe showed that too small a number of magicians were reading one of the few adult publications dealing with magic and magicians. We referto the Phoenix. Some while back its Editor, Bruce Elliott gave us permission to reproduce material from its pages, and this, on certain occasions we have done. The effect by Dr. Daley (which together with a similar effect of Dai Vernon's we had the privilege of seeing some while back), is worth more than an annual subscription to any magazine and for that reason we are publishing it now with the hope that all our readers also tie up their allegiance to the Phoenix and have at their disposal the alternative version by Dai Vernon.
Dr. Daley shuffles a pack of cards, fans through the pack, picks out and shows five black cards one of which is the Ace of Spades — and drops them on the table. Next he fans through the pack, picks out and shows five red cards and drops them face down on the five face down black cards. A spectator is asked to mix the five red and five black cards, just by pushing the ten cards around until neither the spectator nor the performer has any idea of the order of the cards.
At this point the spectator is given a choice of red or black, and then pushes five cards at random to the estimable doctor. Dr. Daley then turns over the five cards the spectator has chosen for him and they prove to be all red, let us say, and the spectator when he turns his five cards over, finds to his surprise that he has selected nothing but black cards! And properly done this is the effect you will get from this subtle and lovely little nonsuch!
Your only preparation is to have on top of the face down pack, from the top down, five indifferent low red cards and then the Ace of Spades. With this little block on top of the pack it is obvious that you can safely shuffle the pack as long as you don't hit the top six cards.
Turn the pack face up and fan through it saying you are going to select five, fairly low black cards. By low you mean twos, threes, fours and fives. Run through the pack lifting up about halfway out of the pack, four indifferent low black cards as you come to them. Remember that you are going to use the Ace of Spades as your fifth card, so use your judgment as to which black cards to jog upwards. When you have jogged the four, run to the Ace of Spades and in stripping out the four cards and the Ace, strip out the five red cards hidden behind the Ace.
These ten cards are casually shown as five, and the pack is turned over face down—and you drop all ten cards as five, on top of the pack. False count, just by pushing off the two top cards as one, then fairly counting two, three, four and five cards which you miscall as five black cards. Square them up (not too neatly) and turn over the packet of six cards as five and flash the Ace of Spades on the bottom of the packet. Drop the cards back on top of the pack, again miscalling the cards as you deal off onto the table, five cards saying as you do so, " One, two, three, four, five black cards." Really these are five red cards. The block of black cards with the Ace on top of it is on top of the pack.
Turn the pack face up, fan through the pack as you did before, but this time jog upwards five low red cards.
Rip them out of the pack and drop them face down on top of the face down pack, just as you did the first time. Count them off fairly, square them up, just as you did the first time, drop them on top of the pack and deal them off on to the table.
To the spectator you have shown five black cards and dropped them on to the table, and then five red cards and dealt with these similarly. Actually there are ten red cards, face down on the table.
Now have the spectator mess the cards around so that all track of their supposed colour is lost. Give the spectator a choice of red or black. It is a magician's choice for he has red Whilst he has been mixing the cards around you have had all the time in the world to count down five cards from the top of the pack and keep a break at that point with the little finger. The pack should be held in the left hand face down.
Have the spectator randomly choose five cards, and give them to you one at a time, accepting them in the right hand face down.
You have to make a switch at this point— but everything up to this point is so seemingly fair, and since as far as the audience is concerned the trick is almost over at this point, you should have no trouble with it.
The five red cards are held in your right hand with the fingers at the far end, the thumb at the near end. The pack is in your left hand, with the little finger keeping a break under the five top cards.
At this point Dr. Daley uses a very Daleyesque bit of business. He rotates his left hand a trifle so that the back of the hand is towards the spectator. The doctor bows a trifle to the spectator and gestures with the packet in his right hand, saying, "You have chosen five cards which you gave me. These . . . . " He gestures with the five cards and makes the switch in one continual motion as he brings the packet near the pack, bows again slightly and presses both hands against the chest, the back of his hand to the spectator, the face of the bottom card on the pack to the spectator. The right hand, after the switch, continues its motion upwards and with the back of this hand outward, the back of the little packet is towards the spectator. The cards held by the doctor are then turned over, the spectator following suit. If however, you are not born in the Daley mould the alternative switch may suit you better and this switch is made as the spectator turns over his cards. This is the how of the switch. Just as the spectator begins to turn over his cards we bring the right hand towards the left hand and we use the left thumb to push the packet of cards to the right about half an inch. The packet in the right hand is dropped on top of this and as soon as the right fingers and thumb relax their hold they come down and pull out of the pack sideways the packet jogged to the right.
WITHOUT doubt the most popular card effect in use to-day is Paul Curry's " Out of this World." Unfortunately it is often overworked, and is used by magicians who have little, if any skill, with cards. Being unused to Card Magic they often use no misdirection and being slightly clumsy in handling leave the impression that the trick is not difficult and can be done by anyone. Ken de Courcy will bear me out when I say that once, on board a troopship, we were shown " Out of this World " by a layman. He had worked the method out after seeing it done once. So let's see if we can rectify matters.
In an attempt to find a method of repeating the effect, I felt the weak spot was the stopping in the middle of the deal to switch colours. Most of the misdirection patter can be used once, but wears thin when used a second time. The method is cheeky but effective. I do not think it is as strong as the original, but is invaluable if on a return date you are asked to " Do that Card Trick again."
The stack is the same as " Out of this World."
This allows us, as soon as the spectator has turned up his five red cards, to drop our five black cards on to the table and spread them.
The function of the Ace of Spades is an important one. The spectators see nothing but a sort of indistinguishable mass of low red and black cards. The one recognizable card is the Ace of Spades which serves as an unspoken guarantee that there has been nothing underhand, like a switch of cards going on.
Editor's footnote : A thought occurred to us when playing with the effect regarding the switch at the conclusion of the effect which was to the effect that the Curry turnover change could be used to perfect advantage. As the spectator pushes out five cards for the conjuror, the latter with his right hand pushes them into a neat stack. When the spectator is left with five cards these too are stacked and the performer recaps. With his right hand he turns over the spectator's heap and with the left hand at the same time he turns over his own heap, the Curry change (which is no more difficult with five cards than it is with one!) is made and you have the perfect climax.—P.W.
Have a red and a black card on the table face-up. Hand the pack to the spectator and have him deal face-down. When he reaches about twenty, interrupt him and prevent him from dealing more than twenty-five. Take the remaining cards and hold them in the left hand. Ask him to square up the two piles he has dealt, but this must be done in a definite order. One of the piles he has dealt will be correct but the other is not. It is this incorrect pile which he is asked to square first. As he does so you estimate the number of cards he has dealt and with the left little finger you pull down, by the corner, this number of cards from those you are holding, and hold a break. Do not try to be exact. Take the incorrect cards from him as you ask him to square the other packet. Drop these incorrect cards on top of those in the left hand. Immediately lift all cards (including those just added) above the break and put them on the table with the right hand. By this time the spectator has finished squaring the other pile he dealt. Have him lift these and ask him to deal his cards simultaneously with your cards on to the indicators. Once more you are successful.
" By ' Good Effects,' I mean those which are technically and artistically sound and by ' Poor Effects ' the reverse. But the latter are frequently passed as good effects onto an unsophisticated public, and indeed many writers on conjuring seem to encourage such charlatanism. ' The audience,' say these teachers, ' know nothing of magical devices, so why trouble to use methods designed to bewilder conjurors?'."
A conjuror without an ideal is like a ship without a destination and as likely to reach port."
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