There's one thing about a new trick — it takes a second reading and twice as many tryouta to convince the reader of its worth. Magic has always been that way.

You can do this one after the first reading. You'll appreciate it more and more depending upon upon how many times you present, it. For once you will get a trick, depending upon the simplest of secrets, a trick which is a psychological mystery because its finale embodies (?) more than its preparation to the onlookers might presume.

The spectator shuffles his own deck. From it the performer has a card chosen and returned. V/ith no magical move the pack is handed the audience assistant for mixing. And at this time the performer turns his back.

After shuffling,the spectator is told to cut the pack into three face down heaps. Then he is told to look through each heap — and say when he has found his card.

Next hfe takes his card from where he finds it — pushes it into the center of one of the two remaining piles ~ and squares them all.

You — with sky sense — glance through the piles —tell the subject where he found his card — tell him where he then put it — name the card — and then turn it face up from among all the others.

It all depends upon a "key" and a "force." The effect, however, is worth it. First you force a card. Then you notice the bottom card of the deck. Undercut for the chosen (?) card's return. The noted card goes on top of the card you have forced. Silly? But .watch.

The spectator shuffles. There's a chance in a thousand that he'll break the pair. Conservative members of our cult can dispense with the shuffle and merely have him cut. You glance over the piles, looking first for the key card. That's the one from which the selected card must have been taken. And knowing the identity of the selected card you know into vrhich pile it has been put. "/hen the selected card is found it is cut to the top.

You look the spectator in the eye. The revelation is immense. You not alone tell him from what pile he took his card but then disclose what pile into v/hich he hid it.

Then you proceed to name Ms card — and wind up by turning it face up — you've had it ready for this denuement after cutting it to the top when you-found it during the general all around looking through the piles. This is the first trick in years to pay off three to one on the performer's efforts.


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came through that the lawn sprinkling gadgets were In place with the nearest hydrant turned on, Thurston would tell everybody the words we used on the front cover of Jinx No. 20, In mem-orlum. He'd explain that In a minute or so he would show them a most wondrous feat of magic from a far country, AND THAT HE WANTED, AT THAT TIME. TO BID THEM ALL GOOD NIGHT AND MUCH HAPPINESS. Then would come the pay-off good-nights to each of the children (generally about three) who had helped at various times, plus one to "dad", which fitted because of an effect in which one of the children had to pull father's hair.

Corny? Decidedly so,In the sophisticated centers, but deadly on the public pocketbooks in the cities averaging 200,000 population. It would take an elderly Derson to do it, and one with plenty of polish. Will Rock would suffer through using it, but he could improve things a lot by emulating the man to whom he Is successor (?) by putting his "six card repeat" trick Just before his finish (sawing) and upon its climax telling all that, to conclude, he would be pleased to present the most talxed of illusion ever presented by Thurston, and with the very piece of strange apparatus used for so many years by the master. Then he could step off to stage left, let the curtains part (Rock has a set of "one" curtains that will intrigue you the longer you gaze at the relief work on them), and then make his entrance for the last scene from staee left to approach the set-up with assistants In place.

Thurston's psychology of "audience resistance breakdown" was perfect in theory and practice. Do illusions with stage presentation and assistant perfection. Then, intermittently, do intimate made with borrowed children and let the audience feel as though they know you, "an actor, a magician, a showman." You'd be surprised to '.tnow how many people glory in being within a yard of someone "on the stage." Then go back into the picture frame (proscenium arch) and do another stint of story book marvels. For a full evening show think of two sentences for the two act3. Each sentence is composed of two phrases. The comma between them represents the intimate contact.

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