Brain Wave Ebck

(continued tern page 841)

To assemble the deok, torn each card in the top row face down on the card under it In the bottom row. Assemble these heaps by putting the left end pile of two on the next to its right. These cards are all put on the next to their right, ete.

Van out the cards frost left to right naturally and no faoes will be seen, no natter which aide of the deck nay be upward. However, each side will show backs of an opposite oolor..At any moment it is possible to separate a pair and show the faoe up card immediately beneath it. The last bit of preparation Is to put a penoil dot in the upper left and lower right corners of the 14th pair from top of deck. Then turn deck over and do the same on the 14th pair from that side. Put deck in a neutral ease, one which does not indicate from the outside the color of the backs of the cards within.

In presenting, the eased paok is given someone to hold or pocket. The subjeot is told the aforementioned things about what is to happen, and after the oard is named, you remove deok from oase. If the card named is a red one, the deck la removed with the red backs up. If ft black eard, deok is taken out with blue backs uppermost. The oards are deliberately fanned, and in doing so you count to the spot where you know the named oard is waiting.

For instance, suppose the oard named is the Vive of Clubs. Deok is removed with blue backs upward. You know the top 13 pairs represent Spades, so you fan oarelessly and start counting the backs beginning with the dotted (14th) oard. As you pass the fourth and reach the fifth, a little pressure brings the Five of Clubs faoe up into view.

The same procedure applies to any oard. However, unlike the finish of my first method, this has a different climax. You draw the faoe up eard out and drop on table, saying, "I didn't want anyone to think I was a sleight-of-hand artist so I used a oard with a different baok." And so saying the oard is turned over.

A oapable performer is not going to worry about anyone getting at the deok for he'll be into something else without delay. There is an extra detail though that some might want to use. In the right and left coat pockets have two ordinary and complete decks, one red backed and one blue. Each pocket also contains a penoil. The moment the oard is turned over on table, and the contrast of color seen between oard and deok, the performer says. Will you please autograph the oard for me? I keep a collection of all oards with which I'm successful. " And at that moment the faked deck is dropped into proper pocket (whiohever color back has been uppermost) and the penoil brought out. The card signed, the performer oan take it, at the same time removing and handing spectator the unprepared deok for the next number.

This effeot has great possibilities if properly built up in an Impressive manner. Such a presentation will take any thought away that you are doing a trick. It is simply considered a problem of mental coercion. One well known Eastern mentalist has garnered some good press notices and pictures by using this one stunt as a long distance telephone test.

Try it a few times as outlined here, and you will find that you have a real oonfounder.

\To jfokHheMIKROR up 1b NafiIrZ\

HE COULD MAKE MILLIONS as a gambler—but Dai Vernon decided to be a magician, specializing in cud*. He fooled Houdini; today, magicians admit that no man equals him with cards. —- '

Vernon ni bolrn In Canada. He stsrted playing with cazfe when he was a kid.

Today, he seldom gives public performance,—be appean only at small private parlies, to practice the most difficult "ever the table work," wh*u< his audience can get as close to him as they like.

that work is the «earn of the badness; only the best get U. Unlike meet magicians, he doesn't want publicity, because he doesn't need it. "Pfebedy aitchM a auidM *. a paUWty S._ M-

law will lean a CMpi. ef tficht laaifcldf he mU eat, has eard. printed calling ViM.lt Trafalgar' er The W.rUTa ClMtMt.'

Vernon knows csids better than a mother knows her baby. He will ask you to -cut a deck ef cards; then he feels the cut, tells you exactly how many cards were in the cut. By merely feeling a deck, he can tell if there ie a card missing.

His sensitive fingers can tell the difference between a red card and a black card—there is Uw ialc ea th. red carda, they M drilMr, and are.

That i* why faaMaa f.mbUr. Kk. Nick th. Craek will .at far low eard for a. much aa $10,-000—bat they won't cat yea far high «aid. Low card n.mb.r.

I*. ink . hwa aeparate mora r.xiily la the cat,"

Ha ia o.. of th. I.w haaaat Uviag —.n who caa "enter daaT Sacceeefally—that maaaa, dealing frea the cater of tha pack while apparaatly dealing baa th. tep. That caa« is very heady ia ciaiW pelnn

He learned that trick from aa eld Mississippi River boat gambler named Kennedy, that he heard about. He combed tfa*> valley region for that old gambler, finally found a hanker in Joplin, Missouri, who knew him.

Gaaablera hate aifidaaa Sa Varaaa hired a Rail. Ray«a> drove op to tha little cabia. where the old gaaihlar lived, pretended that he waa a Traaa-atl.ntic gambler. Old Kennedy waa a. flatter^ that ha took Varaaa into hi. coafidaace* abowed him how to do th. enter <U.L

- Vernon pressed and stretched his fingers for weeks to gain the suppleness necessary .to do the center deal—he finally mastered it

Kaaaady had a.«d that canter deal to make a fortaa.—which h. later leat. Varnoa coald- aaa tha trick to make a crookcd for-taae. Bat ho do.aa't l.nbl.— dMia't even play bridg«.

"You've heard that the hand is quicker than the eye.' Nonsense! Nothing is quicker than the eye—but a magician's hands are quicker than some minds. By misdirection, he makes his audience look where he wants them to look, then performs Us trick."
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