Info

"Yes" "Right"

"That's right" "Xou're right"

"the card"

(Silence)

Now for an explanation with examples. The selected card Is known to the performer by whatever method he wishes. He may have It drawn from a face up deck or he may use a stacked pack and after a free selection a glimpse at the next card will give him the same Information. This Is no doubt best because the performer apparently never knows the card himself. The assistant may be standing or seated with their back turned. The use of a blindfold is optional.

Asking the assistant to name the card being thought of gives her rome definite Information, but thiss offhand query always sounds the same to the audience if they are acute enough to notice. After this first question by the performer the assistant replies but always wltholds part of her knowledge, and thus gains the name of the card by the performer's answers or his silence as the case may be.

Example: Suppose someone selects the FiTe of Hearts. The performer says, "Tell me what card this gentleman is thinking of.1' "Tell me" Indicates that the card Is a Heart. The key word "what" indicates that the card is AMONG THIS LOWER SIX in value. Had the performer said, "Tell me the NAUE of the card," the assistant would then know that it was one of the higher six, or from the Seven to the ttueen.

Knowing definitely the suit of the card the assistant now reveals only the COLOR. He says, "It Is a red card," and waits for the performer's immediate reply. As will be seen, the group of six Is divided into two groups of three each. The performer's reply or silence to this first statement by assistant informs her which group of three contains the card. In this case there is no reply and after only a few seconds, she knows that the card Is in the second group of the lower six , either the four, fl»e or six. However, she remarks that 'the person is thinking of a Heart.' Once more she listens for the reply which will indicate the actual card. One of the three is to be transmitted as per the lower taDle under 1, 2 and 3. Any reply consisting of ONE TiORD shows that the chosen card Is the first In its' final group; any reply of TWO WORDS will make it the second; and no reply at all makes it the last of the group of three. In this case tne performer says, "That's right," giving her final knowledge. She finishes with, 'and tne name of the card is the Five of Hearts.1

One more example will clarify the procedure. This time we shall take the Seven of Clubs. The dialogue is as It is given.

Performer: "Now tell us the name of this card." Assistant: "It is a black card." (Knowing it to be a Club and one of tne two nlgher groups) Perf ormer: "Yes."

Assistant: "In fact it Is a Club." (Now knowing It to be the 7,8 or 9)

Performer: "Yes." (which indicates the 7) Assistant: "And I'm sure it Is the seven of Clubs."

Kings are always sent In the initial sentence by saying "the card" instead of "what" or "the name " Thus a King can be rattled off In the same manner but without the performer ever saying a word more.

Practise on this for half an hour will make It easy. Try to make it natural and don't ask the questions stiffly with emphasis or make the replies as though a life depended upon them. Try to answer back immediately so that there is no break in the continuity of the assistant's speech. Hake it look as though she reveals the card practically all at once with no delay. Viatch these points and you have as nice a code as you oould want. Do it four or five times. Then vary or finish by forcing a card you have both agreed upon beforehand and without a single word being spoken she names It. It is a little twist at the last moment that will always befuddle the wise guy who may think of a code.

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THE NEV. NIGHTMARE EFFECT. (Annemann)

Years ago (six, to be exact) I put out an effect I called The nightmare. It was quite popular for a time and tnen died out as tricks do. I worked out a different twist to It however, and it has always been a novel stunt for tables and close work.

Writing something on the face of a card from the deck in place of paper, the performer hands It to someone to hold for a few minutes without looking at it. Riffling through the face up pack, another person says, "Stop at any time and looks at the card staring them In the face. They are asked to remember it well. The deck Is closed and witnout a move placed on the table. Turning, the performer asks the first person to read the writing on the card. "The card chosen will be the Three of Clubs." The prophecy is correct! Now the performer says he has gone further. The deck Is dealt through a card at a time face up and the Three of Clubs is gone; "And where is It?" queries the mystic. "I made It change places with the card I originally wrote upon!" And the first spectator shows the j card he has been adding from the start and from which he read the writing AND IT IS THE THREE OF CLUBS! And ail of this happens with a borrowed deck of any design which makes it a veritable nightmare for anyone.'

Used Is a feke card carried by the performer ready to be Introduced into any deck. I carry two, one for bridge decks and one regulation size. T o cards are glued together at one end the face of one against the back of the other. The back card of the two is cut across the free end to make it a short card. We shall call the back card the Three of Clubs.

Borrow a deck and have your card ready to add to the face of pack. After this expliln that you will aake a written prophecy. Fan through the deck and find the Three of Clubs belonging to deck. Vilthout letting the card be seen, write across the face "The card to be selected will be the Three of Clubs."

Hand this to someone to hold or pocket without them seeing the face. Now cut the deck which brings the feke card near center. Turn deck face up and riffle at the front end from bottom (or back) to top. Tell a person (preferably the owner of the cards) to tell you to stop at any time and as you riffle through you take It easy until stopped when you let them all go to the break caused by the short card.

Just keep deck open at the front end and ask person to note the card stopped at and looking up. It will be the back card of the glued pair, "(then it has been noted, let deck close and lay on table. Have the first person take card out and say, "Just read the writing on the card." They do and the second person acknowledges It as correct. iJow, and most everyone will think the trick over, comes the climax. Explaining that the card has vanlsned or been purloined in an expert manner, the perforner takes deck face up (and turned so the glued end of the double card Is towards spectator) and deals through into a face up pile a card at a time the chosen card not being found! Then they are told it aas changed places with the written card AMD IT HAS.' While this is being grabbed for and looked at, the fek< card Is stolen from deck. The borrowed deck builds it.

Bolder and more direct metnods seem to be the rule of the day and in this case tae rule seems to he a good one. The more complicated an effect gets, the har der it Is to handle. Mr. ¿ush has reduced that old and true classic to a concise method that does not confuse at any time and leaves a profound impression.

Passing three lemons into the audience, the performer asks that one be selected and held, the other two being tossed back. The performer requests the loan of a dollar bill, the serial numoer of which is taken down by another person, and then the performer tears off one corner which he hands to the owner as a means of still further identification, The dollar bill Is now vanished. The spectator takes tae lemon from his pocket, cuts it open and finds tnereln a bill. -Serial numbers all check and the owner of the bill has the corner that matches perfectly. Vihat could be more convincing In tne eyes of the audience?

Lemons should be used tnat are different from each other to the extent that they can be mentally identified as one, two and three. Remove the ztem pip from the lemon at the stem and with a sharp instrument such as an ice pick. Insert it at this spot aaklng a hole large enough to receive a rolled up bill. The bills are rolled as follows: Fold to hall its' own width, tnen in half lengthwise and tncn roll into a tight roll, dill will not be over three-six-teentns of an inch In diameter and about one and five-sixteenths of an inch in length. The bills snould be neither too new or too old and flr3t tne 3erial numbers of each should be written down and a corner torn from each. Be careful to keep each corner with its' own number.

Roll and push number one bill into number one lemon with a blunt lntrument to about center. The same is done with the otner two bills and lemons. Put a drop of glue on tne stem pip and replace it over nole and let dry. Upon examination the lemon appears to be ordinary and without preparation. Put the torn corners in your pockets bo you can get whichever you want and you are ready.

Spectator selects one of the three lemons passed him and puts it in his pocket. The two remaining lemons are tossed back and tnia is where the perfonner finds out which has been selected. He places them on table at the same time securing corner to match bill in selected lemon. If corners are being kept In his pockets instead he secures the right one while asking the loan of a bill. Upon receiving the dollar he asks someone to write down the serial number and proceeds to call it eff to them. However, he actual 1,/ callo off tne rrnauer of the bill inside of tne selected lemon. One will always linn it easy to memorise tnese serial nuaoers, or easier yet nave thea written on nis cuff or thumb nail. At tnls time trie palmed torn ccrner Its placed at upper corner of bill, covered t>y thumb. The upper right corner of borrowed bill Is apparently torn off but fingers really fold over the corner of bill and the palmed torn off corner la brought into view, creating a. perfect Illusion of having torn the corner from the borrowed bill. This piece is given owner of bill as a 'receipt' for his money.

Vanishing the bill with any favorite method, the audience is told that the money has passed Into the selected lemon. The spectator now takes it frcm his pocket, and the performer hands him a knife or lets him use his own. Upon cutting it in two he finds the dollar bill. The serial number is checked and of coura is found to be correct. The torn corner fits perfeotly and the trick is over. To present again it is only necessary to prepare one lemon as the other two are ready.

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