Ri t i r i r

After that—turn the card and wave it casually so that all may see it has SOMETHING written on it—but no one will be able to see what!

Finally, tell the spectator to remove his card and call out the name—which he then shows to the audience. As a last word, should the spectator choose the card which corresponds to your prediction—it is obvious that you allow him to open the envelope and read the card aloud.

If you haven't got the nerve to try this trick the way I suggest, you can always end clean by having nineteen predictions in a Pocket Index ready to switch the card after it has been mis-read—so that a card bearing the correct prediction can be handed to the spectator afterwards—I'm glad you thought of that! *

(15) "The Informative Joker" by Corinda *

This is a quick card trick which ends on a light hearted note. It is a novel idea for close up card workers—not suitable for performance as an effect for large audiences.

The Effect and The Method. You force the three of clubs and have it returned to the pack. I said this effect was for Card Workers—so you do not need me to tell you how to force a card ! You now explain that the joker is the one card that sees all, hears all and tells everything ! You take out the joker and pretend to listen to him— suddenly your eyes light up— "He tells me you took the Three of Clubs". You look at the spectator and wave the joker at him,44 is that Correct ?" He will probably smile and say yes—and you then look very serious and say—44 You don't believe it I can tell that, but let me tell you that he told me and showed me—look, he knew what card you would choose ! You drop the joker on the table and it is seen that in one hand he holds a card—it is the Three of Clubs !

Some Jokers are pictured as a clowned man standing with one arm in the air. Draw with ink a small card in this hand and let it resemble the Three of Clubs. When you wave the Joker to show it during the routine, put your thumb over the drawing to conceal the card in his hand.

(16) "Double-Impact Prediction" by Corinda

The Effect. "I want you to imagine that I have a pack of playing cards and that I am showing them to you now. (Make an imaginary fan and show). You look along the cards and you see one that you fancy—what do you see? Good, now would you count along from the start here (indicate an imaginary starting place) and tell me the position of your card? Fourteen? Thank you, and the card was the Eight of Spades—correct? That is a very odd thing— because here I have an envelope and on it, as you will see, is the number fourteen—have a look and see what's inside". He takes out the eight of spades! Please don't rush to tell me it's a good effect, I've been doing it for years—and I know it's good!

The Method. Use a Pocket Index and a Swami Gimmick. All this I have discussed before!

(17) "The Matchbox Mystery" by Corinda

The Effect. The performer writes a prediction on a small slip of paper which he folds and drops into an empty cup. He then throws a box of matches on to the table and invites anybody to remove as many as they like. This done, the remainder are counted and then the prediction is read. It tells the exact number of matches that will be left in the box—and is correct.

The Method. Write a prediction—fold it twice and appear to drop it into a cup. In actual fact you palm it out leaving the cup empty. Have a box of matches with no more than 52 matches in it and drop it on the table. When the total of the matches left is declared—reach into a Billet Index where you have in readiness 52 predictions and palm out the appropriate one. Pick up the cup and drop the billet in as you do so—passing the cup to a spectator to read the billet inside. Effect No. 24 (Step One) is a variation of this trick.

(18) "The Mystery of the Chest" by Corinda

The Effect. On a table stands a nicely decorated chest and beside it stands a drinking glass. To the left of these are two or three items which include seven keys and seven numbered tags. A committee of seven people take part in the proceedings and they are invited to come on to the stage or to one end of the room. Now this is very important so please read carefully. This is one of those rare effects where most of the work is done by the assistants and practically none by the performer. In this case, our performer stands well to one side and calls out his instructions to the committee.

To start the routine, the Mentalist explains to the audience and assistants that the box on the table is a chest—containing something which will surprise everybody (you do not say what it is). You explain further—that on the table are seven keys and that only one of them will open the chest—which at the moment is locked. Next you tell the audience that the committee must be numbered and then must each select a key. You instruct each member of the committee to:—

"Go to the table, select any .number tag you like (they run from 1 to 7) and pin it on your lapel. Next choose any key and test it—should it be the one that unlocks the chest—relock the chest after testing. Whether the key does or does not fit—when it has been tested it must be dropped into the glass".

This is done up to the point when the last person comes to the table. After he has dropped his key into the glass—you ask him to shake them all up and then take them himself along the row of assistants—and have each person remove one. He takes the last one—the one that is left after everybody has had a choice.

Once more the committeemen are called to try their keys and see who has the one that fits the lock. One at a time they come to the table and see if their key fits. Since all the keys look alike—there is no way of telling until they are tested in the lock. No matter who has the key that fits—every key is tried to prove that six do not unlock the chest. The assistant who takes the right key stands aside—the others return to the side of the stage. Now

you approach the box for the FIRST TIME and ask that it be unlocked. From inside the chest you remove an envelope and tearing it open, ask the assistant left with you to remove a card from inside—and read it aloud. It reads:—

"It is my Prediction that whoever chooses to call himself number three —will also choose the only key to open this chest—Corinda". Everybody can see that the assistant standing beside you wears a tag No. 3 and you have not influenced their choice in any way. This is my effect, which although somewhat long (as with most versions of the "Seven Keys") is well worth the preliminaries. I would suggest it is more suitable for the drawing room where the use of seven spectators draws a good number of the audience into the effect—thus giving the trick a personal interest.

The Method. In the Chest is an envelope. It is a window envelope as described on page 12 of "Step One" and it is prepared with a pre-worded prediction as told to you on Page 14 of the same book. The trick is painfully simple. When you see who gets the key that opens the lock you look at his number. When you take the envelope out of the chest, with a Swami Gimmick—fill in his number so that the full prediction reads accordingly! To do this, even though you are not proficient with a Swami Gimmick—is childs play—you must be able to write any one of the numbers from one to seven—is that hard? In view of the method you will understand that the chest is unfaked, the lock ordinary, the keys ordinary, there is no force of the number tags and it does not matter who takes part—if anyone criticises this I will send them a pint of my blood!

The Effect. The Mentalist writes a Prediction naming a card. He folds it ' and gives it to the spectator—telling him to drop it in his pocket. A pack of cards is taken and shuffled. It is explained that one must be chosen—and that the choice must not only be free of any influence—but also, no one must know what is selected. To achieve this—you tell the spectator to hold the cards behind his back and to mark any one on the face with a cross. You give him the cards and a pencil. After that, the cards are examined and the marked one is found—then the prediction is opened by the spectator and read—it names what card has been chosen.

The Method. This is an adaption of a trick given in Thurston's Book of Magic and there are many uses for the principle. The secret is very simple— it is the pencil. Although it looks absolutely normal—it will not write. It is just a dowel rod painted up to look like a pencil—or a real pencil with a gimmicked tip. On the sly, you mark one card on the face with a cross. That card you predict. You mix the cards and give them to the spectator with suitable instructions so that he will apparently draw on the face of a card. Give him the fake pencil—and be sure to recover it afterwards. As an added touch, you could switch the fake pencil for a real one—just in case!

(20) "Nicely Suited"

The Effect. The performer shuffles a pack of cards and places them on the table. He declares that he knows what card is most likely to be chosen— before it is chosen! This he proves to be true—a card is chosen and in a striking manner it is revealed.

The Method. I have found this of great use to me with card effects. It is a definite improvement on the old verbal force which was used to make the spectator take any card you wanted him to take. Prepare by putting the Three of Clubs on top of the pack, the Three of Hearts you reverse in the middle, the Three of Spades goes to the bottom of the deck and the Three of Diamonds you put into your pocket. By this arrangement you will observe that whatever suit is chosen—you have what is called a "get-out"—or a suitable card. The deck is placed on the table in this condition and you must now force (verbally) the number three. To do this quickly—suggest Court Cards are ignored—deal first with "odds or evens"—force the odds and eliminate to the three. At this point you stop to explain that there may be some doubt as to the method of selection—so you will give the spectator a chance to call out any suit he likes—and whatever suit is called will be accepted . . . If it's Hearts—Spread the deck face down and show that the only card reversed is the Three of Hearts. For Clubs—simply turn over the top card; for Spades pick up the deck and show the bottom card—for—have the spectator reach into your pocket and remove one card—his card! Sometimes the little things make a lot of difference and somebody once said 'Long live the little difference'(misquote).

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