Contest Corner

Our Winter Extra puzzle is resulting in more queries than answers, and who are we to make it really difficult for you to win a N.Y.World's Pair Summer Jinx Extra? Here Is the problem entirely revamped and reworded. If you have tried before, try again. We're starting fresh. Postmark deadline is April 30, 1939

Take three aces, three deuces, three treys. Lay them out face up on a table thus L. Note that the total of pips Is six,add- A 2 3 ing across, down, or diagonally — with 3 A 2 one exception. One diagonal adds up on- 2 3 A ly to three. Your problem,In a billiard ball shell, Is to make the square add to six in ALL STRAIGHT LINES by moving merely three cards.

MENTAL RESCUE (continued from page 389)

five cards before him. All action has been simple and direct.

Both (A) and (B) are told to deal their five cards face up before them. Each, in turn, is asked If he can positively, and without chance of failure, pick out his opponent's selected card. The answers must, of course, be "no." And is quite obvious to all that the performer has had no part in the proceedings. Yet, without hesitation, he is able to pick out, from among the others, the actual pasteboards chosen and shuffled by both (A) and (B)l

The reader readily can sense the presentation possibilities. The theme can be along the lines of how magicians invariably cut their "eye teeth" by the finding of selected cards. You, therefore, are giving two of your audience the opportunity of trying a simple location from among few cards rather than the whole deck and while they are entirely under their control. Palling, as they do, the performer relates that a most Important requisite of a magician is to turn failure Into success when, by some slip or inadvertent move of his fingers, he has lost control or track of the selected card. "What would you do now?" he asks (A) and (B), "You are before a large audience. Each of you is doing a trick. You have had a noted card looked at and placed in your pack. You even have shuffled the cards youself. The audience is waiting for you to reveal what was chosen. But you have lost it. What are you going to do about it?"

The performer asks each, in turn, for suggestions. This point will excite some amazing and strange answers at times if the stunt is presented seriously as an example of what a magician must learn in order to cope with circumstances always besetting him. I have yet to hear a whisper during the trick for the reasonj X believe, that every person present has been made to realise a serious predicament which can befall a magician at any time. Every watcher puts himself into the spot -- and is thinking hard.

Finally the magician says, "In such a case there Is but one last resort. Digital dexterity having failed, a thorough student of all things mystical must fall back upon the mind alone to extricate himself without ever letting his aud-lenoe know that he has been close to the brink of chaos. A true artist can never afford to admit he cannot finish what he has started. Let me show you. I have been at a distance throughout your selections and shuffles. Therefore I am in that described "spot." I must depend entirely upon mental vibrations, your reactions, and what Recently has come to be popularly known as extrasensory perception. Look directly at me. (to A) In your mind think of the color of your card, now the suit, and now the value. Lastly repeat the full name of your card to yourself. Thank you. Was this--------your brain picture?"

At the last sentence the performer has reached into the opposite pile (B's) and picked up the correct card. Without a pause he turns to (B). "Don't bother with the separate features of your card4 I must start like that to become en rapport with the conditions surrounding us here. Just look directly at me while I count ten and imagine your card as a large picture surrounding me." The performer counts quickly and evenly. "Thank you, too. It developed into a very clear image of -------. This one right here." The second card is picked from (A's) group. "It's been nice of you both to help me illustrate Just one of the many pitfalls In the life of a magician." (A) and (B) are dismissed. Then, In closing, "I want all of you to remember what I've shown you when, in the future, you may do a trick of magic to entertain your friends. If something goes wrong, don't get worried or excited. Think for a moment, here's bound to be a way out. However, if you exhaust all of your ways and means to a happy ending, and still wonder what to do, my services are always available, I'm always willing to tell you anything I may know. I wouldn't deceive you for the world."

The secret (quite priceless, I assure you, when compared to the effect) is so simple that it reeks with respectability. Five cards are taken from the deck and deposited in the right trouser pocket, or, a favorite dodge of mine, hanging with faces to body under the lower edge of your coat on the right side. A paper clip sewn or pinned holds the packet about a quarter inch out of sight. You know the five cards and I suggest they be the same always for speed. I use five cards in SI Stebblns order. The move? It happens AFTER people may have expected something but saw nothing. (A) shuffles and places them on your open left hand. You turn to your right, swinging the left hand over for (B) to cut off a bunch. Your right hand on the offside secures the cards. You swing back towards left, pick remaining half of pack off left hand with your right and place them in front of (A). The known group has been added. Step away and proceed as I have described. With the two sets of cards eventually face up you need only pick the "stranger" among (A's) known 3et, and the "stacked" card from (B's). What could be closer to genuine mindreading?

TRI-PREDICTI (continued from page 389)

The remaining card and envelope are picked up and the second prophecy to be written contains the names of the second and third noted cards. A spectator is asked forward, seated, and the deck placed face down before him. He is told to cut off about 2/3rds of the pack and place it face up alongside to the right of the bottom l/3rd. Then he is to take about 1/2 of the face up pile, and turn it face down to the right of the face up pile. Starting with pile 1 you now assemble the packets by dropping 1 on 2, and both on 3. Hand the pack to spectator, turning it over as you do so and ask him to give you all the face up cards, keeping those face down for himself. He thus keeps the center l/3rd. He puts these on the table and cuts them In half. Before he completes the cut you place the envelope last written (the double prophecy) between. The rest works itself.

From that time you do not touch the deck again. Tiie second spectator steps up and shuffles the deck. He cuts wherever he likes. You have picked up the envelope first written and this is placed between the cut. Thus the prophecied card is added to the top of the lower section.

When this latter method is done alone, more acute spectators may figure it out. But when it is done following the first method It has proven a 100$ baffler. It is all very clean cut for those wanting impromptu items with borrowed material.

Page 393

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There isn't much to this convincing mystery, but I can assure you that a revelation of a thought of and pocketed card while everything remains with the spectator will put plenty of people back on their heels. Individual performers will make use of the principle In various ways according to their temperament. So far I merely use it straight, getting the correct answer apparently directly from the mind.

The deck is handed a volunteer who stands with back to audience and facing performer. He is told to slowly and deliberately fan through the cards looking at the face of each one passing by. At any time he sees a card which he likes, he is to remove that one and pocket it. Then he is told to lay the deck aside. During this the performer has been standing up stage at anywheres from ten to thirty feet away. Yet he gets the card I

In explaining what spectator is to do, the performer holds deck before himself, but turned so that in fanning the faces will be towards audience. As he tells spectator to take out a card he likes, the performer pulls any card half way up by grasping it at top edge with thumb and finger. This serves to plant a method of procedure in spectator's mind.

The deck is a very strong one-way back deck. The five and ten cent stores carry a great variety of fancy backed cards, many of these terrific one-way backs and not suitable for that purpose in any other feat except this. The deck is stacked throughout. Personally I use the Nikola system, but any arrangement by which you know the name of the card at any position from 1 to 52 is all right. After the arrangement, the backs are turned so that they are in groups of five up, five down, five up, etc. With the spectator standing as described, the audience does not get a chance to see the backs,but you do. The person starts to run slowly through deck. On the first group you say to yourself "0". As he goes into the second group say "5". On the third group say "10". Then he pulls a card from a group. It is not trick at all to see if it is the first, second, third, fourth, or last of that bunch. You merely add that position to the number given that group and you have the number at which card lies In deck. Thus you know the card and have come about as close as possible to actually reading a mind. It makes an excellent opening item for a card routine, but it looks so impossible that it's hard to follow. I generally switch Into the stunt as a winder-upper and let them worry a while.

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