Unpredictable Predictions

PHIL WYE

SO titled because of the ultimate ending of the effect is not known, but the card is predicted just the same. I was " shaken" when I saw Cy Endfield do the original effect, but have since found it invariably works under certain conditions. When performing it recently, spectator failed to select the right card, and I have to quickly devise an alternative ending to " save face." It bears a certain resemblance to Peter Warlock's "Pre-Cog Speller."

The effect is that a card is predicted, the whole pack is spread out face up, and a spectator is asked to push out any card. Under these conditions, performer is shown to have predicted selected card. That is the ideal condition. The alternative procedure is that one or more cards are pushed out of the spread—name of chosen card is spelled out, and predicted card turns up on last letter.

First the psychological angles on the original effect, which is best performed on the ideal type of amiable, good-natured onlooker after you have shown your prowess with one or two other effects. A card is glimpsed, written down as your prediction, and cut to approximately centre of pack. With no indication of your intentions, cards are spread out slowly on table face up, stressing the fact that you want all cards to be seen. Try to arrange matters so that cards are spread with glimpsed card very slightly more exposed, and directly opposite spectator's right or left hand. Ask him to push out any card (stressing this strongly) and make an indicative movement of the hand directly above where the glimpsed card lies. Ask him to use whichever hand is nearest to your predicted card. In the majority of cases, the spectator, acknowledging the fact that it matters little which card he selects, takes the line of least resistance and pushes out the predicted card. When this happens, and it does frequently, make the most of it by a short " build-up " before disclosing name of predicted card.

Now supposing spectator pushes out the wrong card. Quickly assess the number of letters in the name of this card. Assuming it has twelve letters, cut your glimpsed card to this position from top of pack. Now finish effect by spelling out value of card pushed out, and disclose force card and prediction. Alternatively, you can have three cards pushed out, one of these selected, and spelling out name of this card. This method gives you plenty of time for counting twelve cards away from predicted card. Also, if the card chosen should have thirteen letters, one of the discarded cards can be put on top of the pack, thus putting card in correct position for spelling to.

It sometimes happens that the card next to the predicted card is pushed out (this maddening thing often happens when I try to force a card and I utilise this to advantage in the same way). Give them a choice of the card above or card below the pushed out card. Arrange matters so that predicted card is left.

Do try this out—I think you will like it.

TWO THINK AS ONE (Continued from page 68)

When the spectator first comes forward to assist, he is asked to sit down at the table — when he has chosen his card and held it up so that the audience may see it, the mentalist thanks him and asks him to return to his seat in the audience. As he says this the performer courteously assists the spectator to rise by easing his chair back and then casually he pushes the chair forward and thus codes the second part of the required key.

The chair code is as follows— Chair level with table but not pushed under - 1. Chair slightly tilted to right - - 2.

Chair slightly tilted to the left---3.

Chair pushed in flush with the table---- 4.

Sketch C illustrates the code.

The above effect could be worked into a very nice article test by simply having two spectators collect various articles from members of the audience, e.g., keys, coins, cigarettes, matches, pens, etc.

These are then placed on the table in four lines of four, and by using the method just explained, the medium could tell the particular object the audience were concentrating on.

" Where the juggler is in the true sense a ' stylist '—and there seems no reason whatever why he should not be one—he can use the poetic glamour of rythmic gesture to entrance the audience with art as well as raise their admiration by his deafness." S. H. Sharpe—" Neo-Magic "

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