receiving theshUff,ed half from L^^^^
spectator peeks at any card from that packet and you use- the ^ c! tro. ,t to the bottom (see "Appendix VI, p. 359), next to the card ^ " Turn your back to the audience as you instruct the spectator togivT^ packet a complete cut. He is then told to deal cards from the top,^Z hem face up one by one and calling their names. The card following your key card (the one you have glimpsed) will be the selection. Instruct the spectator to lie when he reaches his card, but he's to lie only a little hit mis-naming just the suit. When he does this, you say, "You damned little'liar in a humorous way. Everyone will laugh as the spectator confirms that he, in fact, has lied.*
Now the stacked half is used. You turn your back to the audience and the spectator begins to turn cards face up, one at a time, dealing them face up to the table and calling their names. On one card he is told to miscall both the suit arid value. As he proceeds, you follow the mnemonic order of the cards and, as soon as you hear the name of a card called out of place, you cry, "Liar!"
The spectator now cuts the stacked portion in half and riffle shuffles them together. He is then instructed to turn cards up one at a time, calling their names as before, and to lie on one, naming a card that is entirely different from that he is looking at. The moment he lies, you again exclaim, "Yon liar!" To accomplish this, you must mentally follow two intermingled sequences of stacked cards. When the spectator names a card that is out of place in both sequences, you'll know he has lied. This might seem somewhat difficult, but it's not when you understand that they will nameacard that is totally incongruent with both sequences you are following.
With your back still turned, ask the spectator to place his hand over the card he lied on, covering it. Turn to face the audience, pick up the packet of undealt cards and, by glimpsing at the two or three cards that follow the one under the spectator's hand, you'll know the exact identity of the latter. One card is missing in one of the sequences. Now ask them to name several cards at random, including the selection among them. On hearing the names of the cards, you say, \lJart, *T, '7don't Mnre ym!" until you hear the name of the selection: "Well, finally the truth. That's your card!
-A pendulum that detects lies. I. stays still and it moves (or you make it move) on hearing lies. 7 Henry Christ offers similar idc.is in The jinx 1935 Summer Ex««, P-
220 / Juan Tamariz
_The spectator records his voice with a tape recorder and, as you listen to ,hc t;pc, you detect his voice shaking. —Use any amusing gadget as a lie detector.
«Use Mago Anton's Lantern (it is remote-controlled, at your w,U). _A coin inside a glass, attached to a length of invisible thread-it jumps when the specta tor lies.
11,0 lying spectator can have his back turned as you face the audi-ence. Thus you can prompt the audience, through signals, all to yell at once, "Liar!"
I thought of this effect after watching a similar one with a deck set with the cards alternating in color and shuffled by the spectator. It was based on the wonderful Gilbreath principle.
I believe my much admired and never forgotten friend Alfonso Moline had hit on the same idea of an "Answering Computer"/ Later, I came up with some presentational ideas that I will tell you about.
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The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.