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fake Side after, cards have been iwsefvreo

To make the Slate take a board of 5-plywood and cover it with black 44 Contact Adhesive Plastic " which resembles, the colour of a genuine slate. For the sake of appearance, a border of grained 44 passe partout " may be run round the edge to act as substitute for the frame. This 44 artificial " slate appears very much like the real thing at very close quarters and it is by no means essential that it should be perfect.

On one side of the slate affix two lengths of white elastic (about J in. wide elastic will do) and have these placed so that they run right down one long edge of the slate with a distance of two inches between them. (See diagram). The elastic is easily fixed with staples or small nails.

All that remains now is to fix a set of ten fake cards on to the elastic bands so that they are held firmly in position. Take ten alphabet cards that spell the word 44 Incredible " and arrange them in order. Now cut about one inch off the end of each card so that the centre portion which bears the letter, is of a width just a little less than the distance between the two elastic bands.

These centre portions of the alphabet cards are now stuck with glue to the underside of the elastic bands and then small pins are placed between each card to form a guide to the real cards which are inserted behind the fakes during performance.

This brief description along with the drawings should make it possible for you to follow the technical details so now we can get down to the working.

The slate lies face down on your table. You must have some Soft white chalk (which writes best on the plastic material) and the Alphabet pack (which is best composed of 52 cards)—two of every letter in the alphabet. With these things you are set to perform.

First pick up the cards and hand them to a spectator asking him to look through the pack to satisfy himself that there is a good selection of letters. Next he is asked to mix the cards himself to give them a thorough mixing. In the meantime, you pick up the slate, and without displaying the fake side take the chalk and write the numbers 1 to 10 in a row along the top edge on the back of the slate. (See 44 spectators' view " drawing). Put the chalk down, turn to the spectator and ask if he is quite sure that the cards are mixed. Then tell him to reverse the pack and remove any ten cards without looking at them. (If you have the facilities, it is a good thing at this point to spread the pack in jumbled order face down on a tray and have the spectator pick up any ten cards).

When ten cards have finally been chosen the others are placed aside or preferably left with the spectator for a while! Once more the spectator is told to mix his cards and when the ten have been shuffled they are taken and laid in a row on the table or floor. If they are left with the spectator, he is liable to cheat half way through the routine and look at a cardtfhus exposing the ruse. You have every excuse for taking the cards from him as the trick depends on the fact that he has no idea what cards he chooses or where they go; this you may emphasise! The only important thing is to make it clear throughout that no 44 phoney " moves are made. It doesn't matter at all what cards he chooses so let him 44 chop and change " his mind and keep the selected ten in view all the time—lest it be suspected that you have changed them.

The effect is nearly done, the big build up to the finale comes now. You explain briefly that on one side of the slate you have written a prediction in chalk, and that you have two elastic bands ready to hold the cards. You do not show the slate (fake side) to prove it! You point out that the numbers one to ten have been chalked on the other side of the slate, which now faces the audience. You pick up the first card in the row (or any other you choose) and hold it back towards the spectator asking him where the card should go. He has merely to call out the number. Whatever he said slide that card into position so that it goes behind the fake and leave some projecting over the edge of the slate so that the card does not entirely disappear from view. This is repeated with all the cards. It should now be apparent that no matter what cards were chosen or what order they were placed in the fakes force the appearance of the word 44 Incredible."

For the finale, the slate is turned to show the cards arranged in this order and below them, chalked on the slate, your prediction is to be seen—the word 44 Incredible " corresponding letter by letter to the cards above.

1 think it fair to say that this effect as a mental trick is one that is outstanding in quality and simplicity. Because of the mechanics it is one of those rare items that could be performed almost without practice; however, no matter how sure-fire the apparatus, there is always scope for a blunder somewhere and it is therefore as well to rehearse the routine at least a few times before you put it in your next T.V. show!

THE MILLION DOLLAR TEST By J. G. Reed

Effect. The44 medium " helping the magician adjourns temporarily to an adjoining room. The magician displays six E.S.P. cards and a spectator points to one of them. The spectators are asked to concentrate on the chosen design, the magician snaps his fingers and the medium shouts out, (from the next room) the chosen card. The effect is repeated over and over again, and each time the medium is 100 per cent, correct.

Method. The method of working is perhaps one of the simplest and yet the most subtle ever devised. The medium and the magician are each equipped with a watch which has a large second hand. Before the show both watches are wound up and the second hands are synchronised. The watch face is mentally divided up into six portions, each portion representing one of the E.S.P. cards:—

Consequently when the second hand is in the portion representing the chosen card the magician snaps his fingers and codes the design to the medium who reads it off her watch. During the actual performance, the medium can look at her watch quite openly because of her isolated position, but the magician must have his behind something, so that he can steal discreetly the information.

Note. The routine above is described for use in a private house, but the method can however be easily adapted for stage use without much thought.

THE BIRTHDAY CARD TRICK By Jack Avis

Arrange the following cards on top of the pack (X denotes any card). Top card; X, X, X, X, X, X, X,; Queen of Clubs; Jack of Clubs; Ten of

Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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