Don Diavolo

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two AFTER the formula was written. When I did that, your card was still in the deck. You might have chosen anyone of fifty-two. And yet, because that formula took us forward in time, it could have told us the card you were to choose two minutes later.'

"It can still tell us. WatchJ In the fourth dimensional mathematics all things are inside out and backwards. A newspaper in the fourth dimension would have to be read in a mirror. Hold a mirror to the formula and read its answer aloud.1" (Do that with the formula just given and you'll see what the spectator sees.)

"The Eight of Spades? --- If the mysterious magic of numbers, then, has really carried us forward into time, the card you chose two minutes AFTER the formula was written should be — — The Eight of Spades!" (Spectator turns it up) "You see? The multi-dimensional mathematics of hyper-space is a strange science. It makes my hair stand on end just to think about it. And next time, don't smile so skeptically."

And how is it the spectator gets the eight of spades when he shuffles the deck himself, deals out several cards and has a perfectly free choice of one of them? It's like this:

The pad of paper has been trimmed so that its width is one-eighth of an inch shorter than the length of the cards being used. Remove the eight of spades from the deck and place it, with six duplicates, between the last sheet of the pad and the cardboard backing. The \ in. extra length of the cards projects from the lower right hand side of the pad. (Fig.l) They should be face up, and the RIGHT HAND END of the packet should be bridged. Place a paper clip on the pad's lower edge to hold the cards in position and carry the päd in your pocket. This is the only preparation required.

BRio&f HEP.E

BRio&f HEP.E

Proceed with the trick as indicated by the patter given to the point where the pad is taken from the pocket. Hold it in the left hand as shown in Fig. 2. The slightly projecting edges of the duplicate cards are hidden by the fleshy parts of the fingers and palm. After the spectator has dealt off a number of cards (stop him at seven, but without calling attention to the number), tear off the top sheet bearing the formula and pass it out. Turn the left hand palm down, take away the pad v/ith the right hand and throw it aside. This action strips the duplicate cards from the pad just as you'd strip long cards from a short deck. It leaves them palmed in your left hand which immediately moves forward and drops the duplicates on the spectator's dealt off pile as it gathers them all up.

Suppose we call the spectator's cards packet A and the duplicate cards packet B. Hold the cards face down in the left hand, back of hand to audience. The right fingers feel for the bridge in the outer end of packet B. They cut at that point and move packet B aovm about £ in.

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as xn Fig. 3. Then insert the right forefinger between packets A and B, the second, third and fourth fingers going in front of B. Fig. 4.

Now simply fan the cards that are between the forefinger and thumb and at the same time turn the backs of the cards toward the audience. Fig. 5. You will find that packet B fans and HIDES PACKET A.' Fig. 6 shows the underside of the fan --- what the audience DOESN'T see.

IVhen your spectator chooses a card now he has to get an eight of spades. Anyone who can do a one hand fan of half a dozen cards should have no trouble doing this sleight at once. It is indétectable at the closest quarters.

After the chosen card has been removed, the left hand goes over and covers the fanned cards (left thumb at base of right thumb) and squares them up. This leaves the cards in the left hand backs to the palm. The right forefinger pushes the nearer packet, A, down a half inch just as it did before with packet B, in Fig. 3. The only difference is that, this time, the cards face the performer. Now repeat the same sleight and turn the cards faces out. This fans the spectator's cards and leaves the duplicates hidden. You have shown the cards front and back in a completely fair manner.

Square the cards again. Later when the attention of your audience is centered on the formula and the mirror, cut at the bridge, palm off the duplicates and drop them in your pocket. Leave the other cards on the table. Keep well away from the chosen card so that no one mater accuses you of making a switch. The trick is now done. Build up the climax.

Additional notes: If there is no mirror handy, simply have the spectators turn the paper over, hold it to a light and read the formula through it from the back. --- Don't use the 8

of spades every time. Someone in your audience might have seen you or Don Diavolo do it before. You can use a NINE, THREE, or TV/O of either SPADES or HEARTS. p,when reversed, becomes 9, an E becomes a 3, and an S a 2. Hearts can be written in reverse to look like "two T pi sixty-three H. This way:

Take your audience on a Trip Through Time with a card trick that is simple, easy to watch and one that packs a punch. Excuse me just a moment, please. I've got to run out and catch an axe murderer, a master spy, and three or four jewel thieves that are hiding in the pages of Red Star Mystery Magazine, and who are getting in the D.A.'s hair. I'll be right back.

DewD

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1ram carp b.b.i/ow

Some subscribers have wanted clarity via less words in these descriptions of tricks. I 6aw this effect presented three times before it dawned that I was contaminating it with my ideas which should fool magicians. Then, and only then, did I realize why the audience was being fooled. The trick was quickly done, sinroly presented, and, none of those watching were ever bored. Ed.)

Five cards are taken from the top of the pack which has been shuffled, and shown in a fan. A designated spectator namea AMY one. This chosen card is openly covered with a handkerchief and held by the conjuror. The covering is shaken and the card has disappeared.' Immediately, the sorcerer produces it from one of his pockets.

Duplicates? Certainly.' Are you expecting miracles? A duplicate of each of the five cards shown are in various of the performer's pockets, or in one pocket in a known order. The former procedure is best. The five cards representing these duplicates are on top of the pack at the start. A dovetail shuffle properly placed leaves these five cards on top as long as desired.

The handkerchief used to cover the card is prepared by having a thin narrow strip of wood, whose length is equal to the width of a card, stitched or stuck on the center of it.

In covering the card with the handkerchief, the card is held edgeways and allowed to catch just underneath the wood and then the wood is grasped through the handkerchief. At the same time the card is allowed to drop on the rest of the pack which must be scattered on the table below. Thus, it is only the strip of wood which is being held in the handkerchief. To make the card (which has already been got rid of, unknown to the audience)vanish, the free hand of the conjuror seizes the handkerchief by its edge and shakes it out, keeping the wood side at the back.

As soon as one of the five cards has been chosen the conjurer will know in which pocket the duplicate is concealed and at the end of the trick he produces it from that pocket. Of course the number of cards used need not be restricted to five, but will depend upon the number of different places the magus can find upon his person to stow away the duplicates.

Page f ouch ¿tuart robs on

Somewhere in this issue is a force by Don

Diavolo, complemented with an unusual climax. Ity trick cannot approach Mr. Diavolo's conception for originality,but it DOES amaze people because of its backwardness. I must emphasize the presentation. It should take the audience through sincerety of purpose, maddening suspense, lack of confidence, dispair of success, and finally, a grand climax as perfect for the performer as for the spectators.

It's a trick with cards best introduced in a program where cards otherwise are absent. The performer opens up a deck (obviously new) with the statement that he will attempt a feat ascribed to the greatest of magicians. He is a bit bombastic. Especially sure of himself. His attempt at shuffling is pathetic. With relief he gives the cards to a nearby person for mixing, and, during this, asks someone else to come forward.

The deck is taken back, and the performer hands it to the volunteer. "Lay it on the table, please. Cut it into two parts." The performer steps up, completes the cut half way, and says, "May I have another helper? Someone else from among you to make sure that I'm not trying to deceive you with trickery.'

This assistant stands to the performer's right. The magician turns back toward the cards and asks the first man to pick off the upper part of the cut. Then he is to look at the next card, remember it, and shuffle the entire deck.

The deck in hand, the magus peers through it - he's obviously wandering - and then, one after the other, he picks out cards, shows them to the selector and audience, saying, "Your card? No!" As he rushes through this part, he makes apparent his loss of ascertainment. It must be done slowly at first and then speeded up to almost a ludicrous attempt to find the card. In fact, it does become ludicrous.

Finally, the performer has but one card in hand. He's exhausted. He appeals. "Look,- (at the cards, all over the floor) - I have tried every card but one. What IS your card's name?" It is said. On the verge of wilting, the performer turns the last card over with a plenty visible sign of relief. It is ITI "Perhaps," finishes the tired trickster. "I shouldn't do card tricks. I'm 51 times worse than the experts who can find your card the first time J"

I've spent most of tiiis space in building up the effect. That's all that counts in the long run — what the audience sees and realizes. In an otherwise cardless act, the trick registers.

If the spectator's shuffle, the card to be forced must be palmed on, or be a short card in the deck ,/hich can be cut to the top while the first man comes forward. The cut? The performer completes it half way by putting the lower half crosswiys of the original too half. It is here that he misdirects by asking for the second helper. Then, turning back, he has the first man remove the upper (crosswise) half and note the card below. It is the forced card, of course, and, being a short (or locater of some sort) card, can be found easily enough after any amount of mixing.The effect fits perfectly any act NOT USING CARDS OTHERWISE. The performer, with cards, is a dud, but he muddles through.

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