T Nelson Downs

WOUD'I QKIATMT

KARD and KOIN

manipulator

264385. If his line were 59370, your answer would be 259368.

By this presentation, Mr. Nagle has taken an old and fairly well known addition trick and made of it something which you can put to good use as an impromptu novelty. I do it as a rapid calculation trick and jumble (?) the figures up in such a way as to make any set routine impossible. I also appreciate the fact that you need never set down the figures twice alike as you can write them at random in the first and last two columns as long as you keep them in their correct columns.

| THE SCARNEY THOUGHT CARD. (John Scarney) |

In most versions of the now very popular business of having a card thought of and finding it, it is necessary to go through several mixings and runs through the deck, with a bit of adroit, and sometimes not so adroit pumping and eliminations. This version has simplicity of method behind it. It is done quickly with little or no asking of the spectator this or that. Try it out a few times and see how perfect Is the effect on the layman.

Prepare any deck by arranging ten cards of mixed suits from Ace to ten, the ten spot being at the face of the packet. A good card man won't need it, but many will want to use a short card in the deck and this should be one of the Aces and the one used in the stack of ten cards. This packet of ten are on top of deck. Give the deck several dovetail shuffles leaving the top ten in place and undisturbed. Wow undercut about half of the deck and throw on top. Hold the pack vertically facing spectator and with right fingers riffle the top edge from face towards back, asking the spectator to watch the cards and just think of one.

Because the ten arranged cards are from about the fifteenth to twenty-fifth from face, the first fifteen are let snap by rapidly as you ask the person to watch them. Just as you tell them to think of one, you reach the arranged packet, and at this point let the cards snap by deliberately so each can be 3een. After these have been run through let the rest of the deck snap by very rapidly as you ask spectator if he has seen one.

Never, after a few trials with cards in hand, will you have any difficulty in gauging the location of the arranged ten and the comparative speeds of riffling through. This, together with the timing of your statements, makes it almost imperative that their selection be among these ten. The moment you drop pack and they admit having seen a card, cut it at short card and give another dovetail shuffle leaving the top ten in place. Put pack on table and have them cut into two heaps. They point to one. You either pick it up or push it aside and take the other as the case may be but you must keep the top half for yourself.

Now ask them to watch you deal face down cards and they are to count until they come to the number of their card when they are to stop you. Deal off cards singly and slowly until you are stopped. Lay the card aside and ask them to name their thought of card and then turn over the one stopped at. It's itl />& long as they think of one of the set ten. it must work out because they are all in order and it isn't necessary that you ever know the suit or value until they stop you on the deal. .. strong point in this method is that during the riffle for them to glimpse a card there Is no stopping or hesitating as is necessary with methods for practically forcing the selection. You have a range of ten and done with a little assurance should never fail.

It is with regret that I can't insert the name of the originator of this effect, but the instructions were on a single sheet In my file and offhand I can't remember the source as it wasn't marked. Being on the road has its difficulties and I'm unable to check back by letters. If the person will drop me a line, I'll be only too glad to make good because x've used the effect a lot and have found it very effective to say the least.

Just try it out ana see why, because of the directness in working, it is quite astounding, even to those who know something about cards and the various possible way3 of locating them.

Riffling the cards behind his back, the performer asks a spectator to tell him when to stop. The spectator notes the card in view, and then taKes the pack from performer's hands and shuffles them well, although it was a rapid riffle and despite the fact that the performer has had no chance to do anything to the card, (it isn't even removed) the performer knows its identity and can reveal it or prolong the trick to suit his wishes. I prefer having it noted and shuffled, finding it by having the cards spread and pretending it to be a muscle reading effect.

A short card and a very single set up is needed but this last can be put into the deok in a few seconds. Use your favorite stack but only arrange ten cards. Have them arranged from face to back, put them on bottom of deck and then cover them with the short card on bottom of all. First dovetail shuffle to leave the eleven bottom cards intact. Then cut to center. Deck goes behind back face down in left hand, right hand on top, and thumb at outer end does the riffling. Let them go fairly rapid until you near center when you slow down for the short card, s you pass it, take it easy and the thumb counts the cards. You won't be allowed to go far because of already riffling a distance and when stopped among this group you can hand out deck with confidence as you can quiculy figure the card. You can also do this without the set up by letting person cut dec* only, and then counting from the short card when you spread deck out.

The Jinx is an independent monthly for magicians published by Theo. Annemann of Waverly, N.Y., U.S.A. It can lie obtained direct or through any magical depot for 25 cents a copy, and by subscription is $1 for 5 issues postpaid to any address in the world.

II to i

I A VERSION" OF THE AL BAKER THREE BILLET TRICK. (Annemann; |

Fifteen or sixteen years ago, a1 Balcer originated an effect using a deck of cards, three pieces of paper, and a borrowed hat. To the audience the procedure was to have three cards selected and thought of while the pack of cards was in their own hands. The names of these selections were written on pieces of paper, folded, and collected in the hat. One by one, the performer would take out the papers, and apparently by divination reveal the selected or thought of cards. I first obtained the original method in 1924 and later, around 1929, added somewhat to the general effect by using switches so as to be able to return the slips as read. In the meanwhile, Baker personally had given me three or four variations for the handling of the billet.".

During the summer of 1929 I was camping near Waverly, New York, and much time was spent developing three principles; stacked decks; one-way backs on cards; and the thumb writing glmic. Rather than say 'developing' I might better say 'applying.' (I'll have more to say about the wricing gimlc in a later issue) Among other things I 'fell' onto the fact that a stacked deck could be actually shuffled without ilnpairing to any great degree its subsequent use in a trick. Around the first of November I returned to New York and proceeded to fool many of the boys who never dreamed 1 was actually using a stacked deck. Its most common application was in conjunction with a code, and Mrs. a. would reveal the card from a distance when to the onlookers there wasn't a chance of my knowing it or finding it. Baker immediately saw the possibility of using the principle in the three billet trick, and I did the trick most of that winter as given below. It was over a year later when I ran across the same idea of shuffling a stacked deck, in a 1907 issue of Stanyon's Magic. Later, in 1934, when my book "Sh-h-h—I It's a Secret," was written, I included the principle in a trick and gave credit to the source.

Here then, is the working of this quite perfect mystery. Three pieces of paper are at hand and a deck of cards arranged in your favorite system. Hand the deck to someone to give a shuffle. As they start mixing, you cause them to hurry by asking them to put the deck face down on their left hand. Then, as an afterthought, tell them to give the deck a complete and square cut. During this you have turned away from them, and now you ask that they look at the top card of deck and then insert it any place in the center of deck and square the cards well. Turning back you hand them a piece of paper and take the deck, as you do so and start towards another person, you note the bottom or face card of deck, count one ahead in the system and you know the first man's card which he is writing on the paper.

Give the deck a quick riffle leaving noted bottom card in place, and then an overhand shuffle brings it to the top. Second spectator takes deck on left hand face down, pulls a bunch from the center, notes the face card and drops the packet on top. Squaring deck he cuts them once and again you take them and give him a paper for writing. Picking a third person, you ask that he fan through the deck and merely think of one he sees go by. For example you illustrate, and as you fan through the cards carelessly you watch them for the card you first noted and the one directly behind it is the card the second man chose I The third man then thinks of a card as he himself fans through and this also is written down.

Just remember the two first crrds selected and collect the folded papers in a borrowed hat, watching them as dropped in so you know which is the first, second and third. Reach in with right hand and, fingerpalmlng with second finger the first slip, bring out openly at fingertips the third billet. Look at the first person and little by little name his card. Just as it Is acknowledged, open the slip in hand (third) and nod your head as you refold and apparently return it to the writer. However, you have now found out the identity of the last or thought of card, and after refolding have switched for the first paper in hand and returned that. For those who can't master a finger switch my first method is very simple. I did it as above to the point where the third slip was refolded. It was then at left fingertips and as I started towards writer I apparently put it in right palm, actually fingerpalmlng it in left and opening right.

Return now to the hat and pick it up with the fingers of the hand holding palmed billet inside and dropping it. Remark that there may be some suspicion that the handling of the papers enables you to learn the cards. Pass the hat directly to the second person and ask him to reach in and take out one of the two remaining papers. He is to open it and say whether or not it is his slip. If his, you impressively reveal the card while he holds paper himself. If not his slip, ask him to hand it to the third person for a few minutes and take the remaining slip which must be his. Thus you are able to leave the actual thought of card for the last and get a better effect from it. This routine will leave well informed magicians baffled because you not alone twist them up on the card selections but in the handling of the papers as well.

And that, my readers, is the history of one version of this effect, and how the orinciple came to be used in it to enhance the working.The firs thought of many will be to figure a way to find out the third card and never open the papers. However, there is no way that will compare with having a spectator just think of a card, and that one point makes the trick an effect that will be talked about.

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