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packet, subtract one and give same suit. Throu this subterfuge, you are able to look through your packet and name the order of every card in his.

12. The spectator can name any card in his paok-e£7 You look for its complement In your own, note its position, and then state its number.

13. The spectator names a number. You quickly count down to that number in your packet, either add or subtract one, as the case may be, and name his card.

14. After the pack has been divided into "longs anff shorts" (if you do 11-12-13, the deck is divided, and you have only to return to room, take half from your pocket and hand to someone else. If you do 10, you finish dividing deck after the trick), two spectators take the halves and shuffle them well. Let us call them spectators 1 and 2. No. 1 takes any card from his packet and puts it In the packet held by No. 2, who shuffles and hands it to you. You Instantly locate the chosen card behind your back and produce It, as it is either a long card In a short pack, or a short card in a long packet. Your fingers can feel the long card, and by riffling the squared oards, you can locate the short card. Return card to No. 1.

15. Spectator No. 2 now selects a card from his Half and puts It in packet held by No. 1, who shuffles well. You take packet and hold cards one at time before his eyes. He thinks "stop" when he sees his card. You stop correotly because you know this time whether you are looking for a short or long card and can tell when it reaches top of deok to be taken off and shown. Rteurn chosen card to No* 2, and packet to No.l.

16. Take the four Kings from one packet, and Have them shuffled into the other, and covered with a handkerchief (opaque). You will have no trouble, after squaring packet, in lightly riffling through and tossing out these four short cards In the long packet. Put the four short Kings with short packet.

17. Now run through the long packet you still hold and remove the four Aces whioh spectator with short packet takes and shuffles them well. You take this packet and square cards. As each Ace Is long you have no difficulty In cutting just above any one of then, thus bringing one aoe to the top. Now deal the cards out separately on table face down. When the next long card is reached (an aoe), lay It on the first aoe, and continuing to deal the oards haphazardly on each other in seven or eight piles, put all four aces In the one pile. Now double up any packets, other than the aces, until only four piles are in a row. Now force the ace pile by the "name a number between 1 and 4" dodge, or by the elimination method of "pointing out two heaps" and "now seleot one pile". Then show the four aces together.

18. Now put the whole deck together and have someone remove all of the Club suit. They mix these well, *nd you drop rest of deok in pocket containing the four oards not originally in deok. Have the Clubs covered with handkerchief. You reach underneath and produce odd or even cards as oalled for. The short cards are odd and the long oards even, so this presents no difficulty* After doing this not more than three times, take the deck from pocket (including the extra four) and put all cards together. The deok is now a full one of 88 oards and can be used in any ordinary way.

(Another editor's note); Some may prefer the short cards made by cutting a concave pieoe out of eaoh end on the oards. These are easily kept In their proper position for riffling, by merely squaring all corners. However, In either oase, practice will make It possible for you to have very slight cuts on the oards. I've rewritten this entire routine to make It a bit clearer than the original, and at the same time present it to you in exactly the same way I've been using it myself for over nine years, as a complete twenty minute card table routine.

] THE IMPROMPTU PASSING. (L. Vosburgh Lyons) |

Ever since magicians started their attempts to pass a thought of card from one spot to another, Dr. Lyons has desired such an effeot which would be absolutely Impromptu. It appears that he has solved the problem.

A member of the audience comes forward, and may be seated before a small table. He brings a pack of his own, and two envelopes. He mixes the cards and gives them to the performer, who counts off ten cards and puts them on the table. The spectator is asked to spread them face down, and while the performer's back is turned, to look at one card. The performer turns his back, and at this time 'counts off nine cards from the top of deok in left hand, and holds them palmed in right. The easiest move here, is to palm the card In right hand, and then hold deck In same hand by the fingers from the top.

The spectator is now asked to shuffle the ten oards. At this point the performer turns around, and holds out the deck with left hand, for the placing of the ten oards on top. Immediately, the right hand takes deck and places it on table, the nine oards being added. The envelopes are now picked up, and spectator asked to number them 1 and 2. Then he Is asked If he knows which of the ten cards on deok is his. He says, "No." Picking up oards, the performer counts off the ten cards as before, singly and deliberately. However, after the first three or four are counted, the same snap is made for one count, but no card passed. Thus only nine cards are counted as ten. These are handed spectator to seal in envelope 1 whioh he pockets. Now the performer remarks that the spectator has ten oards sealed in his pocket, one of which he has in his mind, and that not even he, himself, knows where It may be looated among the group.

Again the performer counts ten cards openly from the deck, and drops them on table. The speotator is asked to take envelope 2. At this point, the performer palms one card from deck, lays deck aside with left hand, picks up the pile of ten, adding palmed card, and hands them to spectator to seal. This envelope 2 the performer now takes and pockets.

The performer merely states that In his pocket, the spectator has a thought of oard among ten, and that he, the performer, also has a sealed envelope with ten oards. The feat is to cause one card to pass from the spectator's envelope to the performer's envelope, and in order to prove, without doubt, that a oard does really pass, It will be the one thought of at the start by speotator.

The speotator opens his envelope and counts the cards. There are only nine. Then he names his thought of oard. Then he looks for it. It is gone. The performer now opens his envelope and counts. Eleven. Repeating the name of the chosen oard, he reaches into the fan of eleven and picks it out for all to see. All oards and the envelopes are returned to the spectator.

f THE RHUMMY MASTER. (Unknown)"!

Whenever I read about the magician sitting down and showing how expert he is at the card table, it invariably is at Poker. I have seen only one Mas. that dealt with the game of Bridge. I don't know the exact reason for the amount of Poker tricks, but I do know that the following test of one's skill (?) at Rhummy has been very well received whenever the chance has come for me to use it.

You explain that you will demonstrate how a rhummy player can win his game. Asking for a representative player from the assembled guests, you sit opposite him, shuffle the deck, and, calling attention to the detail, have your partner give it a genuine cut, and deal the cards himself. The game is played in the regular way, a two-handed, seven card game, with all cards to be layed at once. Needless to say, you win.

The stunt is effective, even to well versed card players, because you don't do anything tricky, and the cut, as well as dealing, is perfectly fair. Beforehand, take out four consecutive cards of the same suit, and three others of like value. Have a value to match this set of three, in the consecutive set. Stack these alternately, with indifferent cards, the seven important cards starting with fourth from top of deck. Note,and remember the top two cards as key cards. Now cut eight cards from the top to bottom. Shuffle the deck by dovetailing, but keep the top and bottom eight cards in plaoe. Then let the other person genuinely cut the cards and deal. Thus the arrangement of sixteen cards is brought together in deck, and each of you have your seven card hands. Each of you now draw In turn, you always drawing from the top of deck, and not from the discard, and each time you discard your highest card. Eventually, you cannot help but draw one of the two key cards, and this tells you where you are. Xf it is the first, you know the next is the second, then a dummy,and then the first of the stack. Watch the play from here on, and draw from the deck or discard so that you get the first of the stack. Prom this point, you draw the rest of the stacked oards automatically, provided you do what your opponent does. If he draws from deck, you do the same. If from the discard, you do likewise. I think, and also hope, you will find this nice bit of knowledge to have ready.

(ccn ved from page 176)

second person fir t and top half is replaced on all. You step I \ k, giving deck several cuts. As the cards are r t and black, y.- glimpse the bottom card of deck o know tV wp one.

First person stani . " "Your thinking of a red card, aren't /oui ..¿ititever he says, you know whether his \ t is In odd or even positions from the top, Start the slow deal. 'When he stops you, his i. yd will be either on top of deck or the one j\i, t dealt. Hold It out deliberately, and have hi i ru me It. Then show. Drop it on dealt off pack f packet has an even number, or on deck l;i iket dealt off is odd. As the dealt off card* j reversed, there must be an odd number of them to put back oil paok.

his card is is an odd or even position. He names a number. You deal off and count. You either count off the number and then turn over card on deck, or turn over the card last dealt, as the case may be.

For the second effect, use the same kind of deck, and with alternating cards. Shuffle deck as described, put on left hand and approach a spectator. Ask him to give the deck a complete cut on your hand. With your head turned, have him take the top card for himself, and pass your hand to someone close by to take the next card. As they look at their cards, cut the deck once or twice, and again plaoe on your hand. Make It very clear, and apparent, that this is a one hand mystery. Have them push their cards anywhere into the deck, and without touching cards with other hand, drop them into a soft felt hat or derby. You drop them in flatwise, with backs up. Now take hat by brim in right hand and give It a good, sound shaking up. However, no matter how much you shake it sidewise, as long as you don't bounce the cards up and down, they'll merely slide around and stay in the same order.

Now ask each to name his card. As you cut the deck before the replacing, and noticed the bottom card you know the order of the two duplicates on top. Reaching into the hat, you appear to dig around, and produce the carda in the order named.

Both of these effect are very clean, and to the point. Used, at different times, and stuck into your presentation as a single card number, you'll have something easily remembered, and done without any skill needed.

Cut deck several times as seoond person gets up. Glimpse bottom cflw1 wn imM.

("the restless dozen. (Tom Bowyer)|

Only with prepared cards, has this effect heretofore been performed.

Standing with your right side to audience, hold twelve cards in your right hand. Fan them with their faces to audience, and slowly turn your hand to show the backa as well as the fronts. Close the fan and place the cards in left hand, with faces outward.

Now rapidly count the cards from left hand to the right, as follows: Push first card forward with left thumb, pull it away with right thumb, then grip It at the ends between right first and little fingers, with back of oard facing palm. Wlt;h left thumb push the second oard forward, but this time have palm of right hand facing downwards; press on the right edge of thl* second card with the two middle fingers of th<* right, move left thumb out of way, and the oard will spring into the right hand, face to face with the card already there. Count the third oard into right hand as you did the first, allow the fourth card to spring into right hand as ywu did the seoond, and continue until the twelve oards now in the right are actually alternately n _ Am/4 fa.. Plan* ^hom in the left

hand for a moment, riffle them slightly with the right fingers for effect, then take the cards in the right hand and slowly fan them, displaying both sides.

Square the cards and replace In left hand. Again count them into the right hand, exactly as before, except that the seventh card Is counted in the~ same manner as the sixth ( by allowing it to spring into right hand), then the alternate movements are continued. When you fan the cards In the right hand this time, six cards together will face one way, the other six the opposite way, which is a distinct surprise, and very unexpected.

Place them in left hand once more, but insert the left little finger between the two sets of six and, under cover of squaring the cards, pull the six at the rear downwards and outwards with the last three fingers of left hand, turning them face up the same as the front six. Retain them In left hand for a moment, while the right fingers riffle them, then slowly fan the cards in the right to show them all facing one way, as at first.

Note: To provide cover for the peculiar way in which every second card Is counted off, the hands should move away from each other each time a card is taken from left hand. Smoothness will be acquired if the left thumb pushes the card right to the tips of the left fingers each time.

(the double ad test. (Annemann)|

In most ad tests, there Is but one way of getting the information, as far as the audience is concerned. In this Instance, I've tried to change the effect for each, and at the same time make it very, very easy for the performer.

A want ad, or renting ad page is removed from a local paper, a column cut from It, and six or seven people, clip out ads. The most practical way of presentation here, is for the performer to clip the strip of ads apart on a saucer, and let people pick out one. Each is handed an envelope In which to seal their ad. And each is asked to pick out an ad and put it In the envelope without looking at it, as you are trying a test of clairvoyance, and don't want to get any telepathy mixed in. They seal their envelopes, they are picked up, and you take the packet. The lights are turned down, and one of the spectators takes the envelopes in the dark, mixes them, keeps one out, and tosses the rest to the table. The lights are turned on, and you explain that it is a sure way to prevent anyone from saying, or thinking, that you could keep track of any ad or envelope.

You now concentrate, hedge around a little, and finally give the import of the ad that the spectator is holding. I never advise giving the ad word for word. The envelope Is opened, the ad removed and checked. Immediately you repeat, but this time in the light, by asking another person to mix the envelopes and

select any one. You stand before him, and slowly reveal the important contents of his ad, whereupon it is checked, and found correct

No ad test produced yet has allowed these conditions, with every choice a free one. The main basic method, however, is far from new. It's only the combination that counts. Only six or seven ads are necessary. Pick up seven papers, for instance, if you are going to use six, and cut from six of them two different ads. Try to pick out ads that are about different subjects. This gives you six duplicates of each ad.

Now take six No. 2 drug envelopes that open on the end. Trim the closed ends and sides of six more and you'll have six envelope fronts with flaps attached. Insert these fronts into the envelopes so that the flaps come together. In the back compartment of each envelope, put the six duplicates of ad No. 1. Wet the flap of the whoj.e envelope and stick it to the flap of the fake Insert. The envelope now appears to be an ordinary one. Now put into each of these envelopes the six duplicates of ad No. 2. Seal the envelopes in the regular manner. You now have six envelopes, each with two compartments , a duplicate ad in the front of each, and the same in the back of each.

Put this packet of six envelopes in your side coat pocket where you can reach them fast. Have your seventh newspaper handy, with a pair Of scissors, and six more envelopes. When ready, open newspaper and take out ad page. Cut out a column of fifteen or twenty ads, and clip them apart in a saucer or cup. Pass it around and have six people take ads and stick them into the envelopes you hand them. They seal and put them together. You take them In right hand, and the moment the lights go out, you pocket them, as left hand pulls out the prepared bunch and,gives them to someone for mixing and a choice. You walk back and put on the light yourself. Everything looks fair because the spectator has his own envelope and is just putting the rest down. You step up to him, and disclose the contents of the first ad in the back compartment. Taice envelope, tear off the flap end, pinch it open so back compartment allows its clip to fall when it is shaken. The other clip can't get away.

Now have someone else take the five remaining envelopes and chose one. Stand before them and disclose the second ad, in the front compartment. Open envelope, but this time the front part is opened to let its clip out. Pick up the four remaining envelopes and drop them in pocket, on the inside of those there. Later you can take out four envelope from the outside and drop them somewhere in case someone wants to look at them.

Page 181

Remove from your deck, say the King of Clubs.

With India ink, change the club pips at one end to Spade pips. Place the genuine King of Spades face down on top of pack. Put the faked card on bottom with the Spade pip towards body.

Turn the deck faoe up, the right thumb covering the Spade pips of faked oard, which makes

(turn to page 184)

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