The Card Work Of Graham Adams

MY FAVOURITE TRICK

I THINK most conjurers appreciate the idea of showing the working of a trick to the audience, and leaving those ladies and gentlemen in a state of bewilderment. It is the imp in us, and it will always bring the required laugh from the aforementioned bewilderment.

I saw De Biere and -his little black bag time after time without tiring, and each time felt that I had my money's worth. I must have seen him nearly a hundred times, yet knew that he had his tongue in his cheek at least half the time he was working ; I felt that with the three things he was doing at the time he accomplished more than when he toured his ten tons of apparatus. I do not think it is taking a liberty with the audience, and I am sure they enjoy the explanation as much as we do in giving it.

This little experiment is of the explanation order, and, as is usual with my effects, gets through a fair amount of time with as little apparatus as possible.

PATTER AND PRESENTATION

The conjurer comes forward with a pack of cards, shuffling them and talking to the audience.

" Ladies and gentlemen, I feel generous this evening, and as the Conjurers' Union and myself have had a little altercation I am going to let you into all their secrets.

" With me, a secret in my mouth,

' ... is like a wild bird put into a cage, Whose door no sooner opens, but 'tis out.'

" A much more clever man than I wrote that.

but there, he wasn't a conjurer. Anyway, you are the recipients of the secret, and all I ask is that you keep the peace—I mean the secret—and you will be able to mystify the income tax collector and persuade him to wait a while. Tell him that as the National Debt is seven thousand millions you are not going to let a little amount like one pound seven and eight-pence worry you. All you require for the trick is a pack of cards and two hands, here are my hands, they call them farm hands. By the way, I always use an empty pocket as well, and as my own must be about the emptiest in the room, I shall use one of my own.

'' I would like three of you to each take a card, note the name and then place it in the pack somewhere, where you think there will be the least likelihood of my finding it. I will lose them altogether by mixing them up again, and place the pack into the empty pocket, so.

" I place my hand along with the cards, the object being to try and find the selected cards and bring them to light. Your card, Madam, was the three of hearts, I will' find it like this. Yours, Sir, was the ten of diamonds, and yours was the ace of spades, and here it is.

" Now I will show you all just how to repeat it for yourselves. Take the whole thing as I did it. I shuffled the pack, had my pocket examined, then I had three cards chosen and placed back into the pack. I shuffled the cards, placed the pack into my pocket and out came the chosen cards.

" We'll try again. Will you take a card, and will you, and you ? No, I don't wish to see them, but let everyone else have a good look. If you remember, I shuffled the cards last time, but to show you that it doesn't matter, take the pack and mix them all together, just as you like.

" Give me the cards ; I place them in my pocket. Now here's the secret ; I think of what you are thinking, and as I know you are thinking of the four of clubs, I find it like this ; and the other two I pick out just like that—they are the two of clubs and the ace of hearts."

EXPLANATION

The foregoing is the effect and patter as I give it, and I hope you like it. Now for the explanation.

All that is required is a pack of cards and three duplicates. Supposing for the moment that the three cards are:

Four of clubs Two of clubs Ace of hearts and the three cards to be used in the first phase are:

Three of hearts Ten of diamonds Ace of spades

The top cards of the pack will be: Three of hearts Ten of diamonds Ace of spades Four of clubs Two of clubs Ace of hearts Four of clubs Two of clubs Ace of hearts

First of all bring the cards to the middle of the pack and force the first three. Have them replaced on the top of the six stacked cards, false shuffle and bring the " stock " back to the top of the pack. Place the pack into the pocket, which

YOU DO

THIS effect is a great favourite these days. This is my version and it should present no difficulty to students of magic. It will appeal to those who remember the work of the late Nate Leipzig and Nelson Downs.

THE EFFECT

This is what happens. Two packs of cards of the same size, one with red backs and one with blue backs, are used ; or two borrowed packs of different back design. There is no preparation.

Both packs are shuffled by an assistant who returns one pack to the performer. The conjurer asks him to spot a card while the pack is riffled before his eyes. This done, the performer places the pack on his open left hand. The assistant is asked to riffle his pack for the performer to peek at a card and then to place the pack on his own left hand, just as the performer has done.

The conjurer then takes the pack from the assistant with his right hand and asks the assistant to likewise take his pack. The performer looks through the pack he is now holding, removes the card he just looked at and holds it face down. He then asks the assistant to declare his card.

Six of spades!" (or whatever it is). The performer holds up his own selected card for all to see ; it is the six of spades. Coincidence !

" Will' you please take your own six of spades from your pack," continues the performer. The card cannot be found, and the performer is then seen to be holding the two sixes, one red backed and the other blue backed. Magic!

THE METHOD

The first move takes place when the cards are riffled before the assistant. Make a break with has been previously examined. Produce the three chosen cards, show them, and bring out the pack, leaving behind the three duplicates which are on top of the pack.

The rest is easy. Force the three cards from the top of the pack, allow the audience to shuffle them in the pack as they please, take the pack, replace in the pocket and produce the three selected (duplicate) cards.

Sometimes I just have six cards on the top, and allow a free choice of the first three cards, bring them to the top and produce from the pocket, leaving the three duplicates behind and then produce the last three cards in the same way as I have described above.

AS I DO

the second finger of the left hand (Figure 10). When the right hand riffles the cards this break causes the necessary pause which forces the assistant to sight the card at the break (Figure 11). Insert the tip of left second finger into the break and push upwards and outwards with this finger. The straightening movement propels the chosen card into the right palm, as shown in Figures 12 and 13.

By means of this " Slip Palm " the right hand takes the sighted card and drops to the side, the left hand holding the pack. When the assistant riffles his pack for you to note a card merely pretend to do so.

Now take the assistant's pack in the right hand, adding the palmed card to the top, but taking care that the differently coloured top card is not seen. The assistant takes your own pack.

Fan the cards, keeping the top card concealed against the palm of the left hand, and sight this card. Find the duplicate and bring it to the top of the pack, which may now be safely turned backs up. Double lift the two top cards, holding them as one.

After the spectator's declaration of the name of his card hold up the two cards as one, showing that, by chance, you noted the very same card from his pack.

Now have the assistant run through the pack he is holding, but he will not find his card. Finally, spread the two cards and show them back and front.

A NEW "SPELLING BEE"

WITH A SURPRISE FINISH

MOST conjurers are familiar with the " Spelling Bee " with thirteen cards, as described in " Modern Magic "—but here we have a great improvement.

THE EFFECT

The effect is as follows : The thirteen cards are face down and the performer spells out each letter separately, at the same time transferring one card from the top of the pack to bottom, i.e., O-N-E one, moving three cards from the top of the pack, then, on saying the word " one " turn up the card at the top of the pack (really the fourth card) and it is the ace. The performer next spells T-W-0 and the deuce appears. The cards are then handed to a spectator who is requested to work the trick. He spells out T-H-R-E-E and it is a failure. The conjurer patters, takes the cards from him, spells out T-H-R-E-E and the three-spot appears. The cards are again handed to the spectator who spell's out F-O-U-R and again it is a failure. The conjurer shows him how to work it and spells F-O-U-R, and the four-spot turns up. The cards are handed to spectator who spells F-I-V-E and again has a miss. The conjurer correctly spells F-I-V-E. The cards are again given to the spectator who gets six right, but seven proves a dud, likewise eight and nine, but the spectator gets the ten, jack and queen right and is getting confident, but the last card in his hand proves a big surprise.

I think my readers will appreciate this effect for drawing room work or smoking concerts, as it offers undoubted scope for comedy.

THE PREPARATJON

In addition to twelve cards, ace to queen, you will require a card with " STUNG " printed in bold type in place of the king. The cards are placed face up in the following order: —

Jack, 7, 5, Ace, 4, STUNG, 3, 2, 10, 9, 6, Queen, 8.

The cards are then squared into a pack of thirteen cards and held face down, i.e., the jack is the top card.

PATTER AND PRESENTATION

Getting a spectator to the stage, ask him: " What is a Bee?" Of course, he knows it is the industrious insect one finds in a Cross Word Puzzle. Has he ever sat on one ? No—if he did he would be stung. " I have another bee here, it is a spelling bee—may I introduce it to you ? Yes! Well, here it is—the cards arrange themselves so that in spelling out their names they answer to them. Here's the idea—O-N-E." The performer transfers one card from the top of the pack to the bottom as each letter is spelt out, then, as he says the word " One " he turns up the card at the top of the pack (this is really the fourth card) and it is the ace. This card is laid aside on the table. He then spells out " T-W-O, two," and the deuce is turned up and laid aside. Handing the cards to the spectator who is requested to work the trick, he (the spectator) spells out T-H-R-E-E and it is a failure. (He will' actually be holding the jack). This card is replaced on top of the packet, and the performer patters to the effect that the spectator is not holding the cards right, or he is not rolling his " r " in Three. The conjurer then spells out T-H-R-E-E, and the three-spot is turned up and laid aside. The cards are again handed to the spectator who spells out F-O-U-R, and again he proves a*failure. There is scope for patter here.

The wrong card (actually the eight) is replaced on top of the pack and the conjurer again takes the cards, spells F-O-U-R, and the four-spot turns up and is laid aside. The cards are handed to the spectator who spells F-I-V-E and again he has a miss. The conjurer spells F-I-V-E and turns up the correct card.

Continue working as detailed above, complaining that when the spectator has a failure he is not putting enough " vim " into it, or is not passing the cards from top to bottom with sufficient flourish, etc., etc.

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