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One of the most pleasing and typical English card problems for discriminate performers has been for quite a few years the sympathetic arrangement of values between suits a3 originated by Herbert Milton. Long a favourite of Leipzig, this mental stimulator recently appeared in print again (Milton published it years ago in a British magazine) but through uncontrollable circumstances was incomplete in its most salient details. A feature which can be used before club audiences this effect should receive careful consideration by all those who want practical and well conceived material.

Two packs of cards are at hand and a spectator selects one. The performer removes his pack from case, holds them with faces towards audience, openly removing all thirteen of the Club suit. The remainder of deck is tossed aside and the thirteen cards are deliberately arranged, always with faces toward audience, from Ace to King, the Ace at face of packet. Two wide elastic bands are now used to secure the packet at top and bottom. These are made from three-quarter inch garter elastic and of a size so as to Just snugly fit the packet without effort. The banded packet is stood in full view, face out.

The performer now takes spectator's pack and gives it several genuine shuffles. The spectator runs through the cards himself and removes the Club suit as each card is reached. The performer shows them well mixed up in values, fans them face down and the spectator- selects one, showing it around for all to see. The chosen card la pushed back Into the packet FACE DP, the fan closed, and the cards likewise banded at top and bottom. The spectator now steps forward keeping the packet himself.

How is told how the suits are sympathetic towards one another and that, because of this, the performer's packet, arranged from Ace to King, will invisibly shuffle itself into the same arrangement as that group held by the spectator. The spectator removes the bands, holding the cards face outwards In a squared up packet. The face card is a five spot. The performer openly remove the bands from his packet. Tne Ace, always in view, HAS CHANGED TO A FIVE. The spectator removes his face card to reveal the next. The performer follows and again they are alike. As the action continues, of a sudden the spectator reveals a card back outwards, the chosen and reversed pasteboard. The performer reveals a back outward card likewise, and both are shown to be the same. The rest of the matching works itself to a successful conclusion.

Prepare 12 double face cards with the following combinations. All suits are clubs.

Ace-Ten Two-Six Three-Pour

Pour-Three Five-King Six-Two

Eight-Jack Nine-Queen Ten-Aoe

Jack-Eight Queen-Nine King-Five

The 7 of Clubs Is left unprepared but is included with the packet. To set the performer's deck, arrange the double faced cards, including the unprepared 7, before you from Ace to King. Hold remainder of deck (minus the club suit) before you face up and distribute the thirteen clubs haphazardly throughout deck to mix them up In value order. Case this pack.

Take the spectator's deck and from it remove the thirteen club cards. From back to face set them 5-9-8-A-Q-J-7-2-K-3-4-6-10."in order to save memorising this arrangement I have marked the backs so the entire suit can be set from 1 to 13, the 5 spot being marked 1, the nine dotted as 2, etc. Use any simple system of lines or dots for this. Put these thirteen cards on top of the deck face down and case them. Have the foUr elastics at hand.

Show the decks and ask the spectator to point to either one. If he selects the double faced faked pack, thank him, lay other aside, and proceed. If he takes the other, say that it is his and ask him to hold it for the time being. Remove your cards and hold face towards audience. Run through and remove the club suit. Then openly arrange from Ace to King, the Ace at face of packet. Around top and bottom put the bands. On the back of thi3 packet is a five and you can see how the bands cover the upper and lower spots leaving only the center showing. As you turn to put the packet on table in view, it is turned over. That's all. The ace is apparently still at the face of the packet as Just 3hown.

Now remove the cards from spectator's case and give the deck two or three genuine dovetail shuffles. The 13 arranged clubs on top are thus distributed through the pack without disturbing their order! Hand deck face up to spectator. He deals through them one at a time and lays aside each club as it is reached. This packet is 3till in the same order as you previously stacked it but simply reversed.

You show the fanned packet well mixed and hold them face down for spectator to select one. In fanning you break so that he takes the 7th card (the"middle card of packet) which he shows around. It is the 7 »pot. It Is openly placed PACE UP in fan at the same spot and the cards squared and banded. Everyone sees that a five is at the face.

For the finish, the spectator removes his bands. You do the same and the ace is seen to have changed to a five. The effect continues and eventually the chosen 7 is found reversed. It has happened automatically in your packet because it is the ordinary unprepared card and was in the middle. Continue to climax.

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voices in the night

-Ogr

A TRAVELLING SALESMAN & A TAZMEZ'S MUGHTEZ orvllie meyer

•CJffects of genuine interest, suitable for use with either Jumbo or regular cards, are hard to find. Here, I believe, is such an effect, and one of those where the audience has only to watch, which often is a relief for them.

The only uppnrutus necessary is the well icnovm four partition easel as used in the 4-aco effect. No slei~hts, other thun one simple "move", are involved. The patter will interest and the climax will surprise. I have used tills regularly for a Ion..? time and it is a special favorite of mine with girxnt cards.

As indicated to a certain degree by the title, I use a type of patter for this effect that varies with the audience. In its "mild" form, the trick is Voices in the Night, and for stag audiences, The Travelling Salesman and the Farmer's Daughter. I shall give the general line of patter find leave the exact adaptation up to the individual performer.

1. "There once was a King of a land who had a very beautiful Queen. (A farmer who had a very beautiful daughter.) As usual in the stories of royal romance, the Queen had an ardent admirer. (Along came the travelling salesman.) The King, realizing the fact that the Queen had an admirer, never left his palace without first inviting his cousin, a nearby Princess (the maid) to stay with the Queen* as "chaperon."

2. So when the King had gone, alone in the Castle were the Queen's cousin, the Queen's admirer and the beautiful Queen herself.

3. The Queen, however, was wise as well as beautiful. So when the King left, she asked her admirer to disguise himself a bit and visit her th?it evening. Then, in the meantime, she persuaded her cousin to leave. You know, ladies in love stick together, and as the cousin herself had a boy friend, she knew how it was — so she was willing to leave and let this royal romance have its way.

4. But this happened once too often, and the King, suspicious at last, returned one nipht and silently crept to the Queen's door, listened, and heard — Voices in the Night. And one voice very unwomanly, too! He knocked at the door. Silence. He demanded admittance!

5. I mentioned before that the Queen was wise, as well as beautiful. Here is a situation that but for her wisdom, might well have ended in disaster. But the Queen had been prepared for such an emergency as this. 'Without, hesitation, she opened the door for the King. And when the suspicious ruler entered the Queen's chambers, whom should he find but his cousin, faithfully attending the Queen...while the boy friend... kept safely out of the way...for the time being I

I have indicated the "farmer" patter theme at the beginning and leave the rest of this patter up to the individual.

On top of the deck, the following five cards are in order from top down: any King and Queen of the same suit, a Queen of another suit, a Jack of opposite color from the first Queen, then a duplicate of the third card, the v^ueen. I use the following cards: KH-QH-QC-JS-QC.

1. As you patter, place, face out, in the partition to your right (easel and table are to your riprht as you face the audience. The partition fartherest to vour right—audience's left---

King of Hearts. Then the Queen of Hearts in #2. Now double lift and place the Jack of Spades, with the Queen of Clubs unseen behind it, in #3, and lastly, the second Queen of Clubs in #4, the partition nearest you.

2. Place King aside, back out, somewhere, as you name who is left. Pick up, as you name, the QC, face out, drop on the JS, picking up all three, and drop these on the (¿1 and remove all four.

3. Replace the QH FACE TJP, In #2. Double lift showing the JS, replace in hand as you make one of the patter remarks about the disguise, then slide the QC only, back out, In #3, flashing the QC still showing In left at same movement, and then place this QC, which has the Jack behind it, FACE OUT in #4. To the audience is appears the Jack MUST be In the center face down. As you mention that the Queen persuaded her cousin to leave, remove the QC (with JS unseen behind). If using Jumbo cards, place face down on top of rest of pack on table. If regular cards, hold as one card, in left hand.

4. Place King, face out, in #4, and at the same time you turn slightly left as you do this so the right side Is toward audience and if using regular cards thumb off the duplicate QC into left coat pocket. If using Jumbo size, remove the top card from the pack, this will be the JS; in either case do not show the face of this card but use it for the time being as a pointer as you patter along, and at the end of paragraph 4 of the routine, place, back out, in #1.

5. At the proper moment, turn the supposed Jack face up and it is the "cousin." The Jack is then revealed on the other end, and you are left with four cards only on the easel.

If you find it hard to double lift Jumbo cards, start with the cards set up: KH In #1, QH In #2, JS (with QC behind; in #3, and QC in #4, or all cards already displayed on easel. Or the following is a slight variation in the handling:

1. Packet sets face out, all cards in ¡p3. KH face out, showing, then back of this the QH, QC, JS, QC. rake off KH, place in #1, face out. QH in #2. QC in #4, leaving JS showing, with QC behind it, in #3. Thus all cards are face out, and showing. The King now leaves, by turning back out in #1.

2. The QC and Qii leave with the JS, "arm in arm for lunch, or somethin'," by removing QC in #4, placing on JS in #3, remove all onto QH in #2. Place this packet BACK OUT in #4 as "they return to their room." Take off QH, which is back out and on top, place in ff2. Take off next (QC) calling it the Jack, place in with back still out, then turn over and show QC left in #4. The easel now shows the Kii in #1, back out, QC in #4, face up, iiH in #2, face up, and JS in #3 (apparently;, backup.

3. The QC now being asked to leave---remove the two as one--- placing back out on King in #1.

4. Wow the King returns (turn packet of three, supposedly two cards only, face up in ffl. The King says you can't fool him, he knows the Jack even if he is di3Tuised--3o to save the day, the performer changes the Jack into the QC. The Jack was evidently out, too (you patter), as he has entered just back oi the King, in fact right on

5. his heel3, as you so show by slipping ths Jack up into sight (back of King) and place It in #4, and all cards now show again.

I am confident that all who try this effeot will find that it goes over well and holds interest from start to finish.

Page 381

Rope routines are my hobby In magic. I have been developing a series which beirins with the stretching of a rope and then follows with cord manipulations and cut and restored effects. I needed an effective climax. The idea of informing the audience that the performance was ended;or of bidding them fare-' well, by conveying this message with rope has proven very practical and surprising. I use a very heavy cardboard 12 by 18 inches in size. The message is outlined with pencil. Small tacks or nails 3/8 of an inch long and preferably with a broad head are successively placed on either side of these lines so as to form between them a channel or groove into which the cord is fed and thus maintained In place. The board and nails are uniformly painted black. A white or yellow border set s off the appearance. One or two of the popular manipulative ropes are used; the size is determined previously by actual measurement of the length required to fulfill the wording. Knot ends to prevent fraying.

The cardboard is held in the left hand while the right hand feeds the rope into the channel or groove in the same succession as if writing words. The board may be held either towards or away from the audience during this operation.

It is impressive how with but little experience and practise one becomes adept at forming the message, In fact, almost as rapidly as if it were written with chalk.

The black painted nails are imperceptible on a black background and as casually looked upon the board does not appear unduly faked.For the words "Good Bye", two cords are best used.How ever, I have also made similar boards with the single words "Adieu" or "Finis" which require only a single rôpe, generally that used in the preceding effect.

While not a trick or super mystery this ending is novel to an audience. X have heard later a description of the rope being thrown at the board, its forming the words alone. While complimenting my speed as a result of practise such a statement at least serves to show that the effect certainly was noticed and remembered which is the least a performer can desire of any trick.

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