Steve Draun has been performing a remarkably dumbfounding blend of two ----- ^—, Tv^k-" handlings for some time. The first part is Edward Mario's

"Twenty-One Card TricK nanuuiigo wi ~----- ---- - A ---------

and it has appeared in print twice before (in Kabbala, Vol.1, No.7, 1972 and Mario

Without Tears, First Method, p. 146, 1983), however Steve has provided vital details to this description that have not been previously disclosed. The second part is original with Steve. This is a wonderful routine, and one with which you will thoroughly thrash anyone who thinks he knows the "Twenty-One Card Trick."

Part One: Hold a shuffled deck face up in your left hand. Say, "Now you're familiar with the Twenty-One Card Trick—it's probably one of the first tricks you learned how to do." One at a time, thumb off three pairs of cards and drop them on the table, followed by a single card. Do this three times to make three face-up seven-card piles and count aloud throughout: "Two, Four, Six, Seven. Two, Four, Six, Seven. Two, Four, Six, Seven."

Continue, saying, "I'd like you to pick up one of the piles please and shuffle it." Wait until the spectator complies, and say, "Then, fan the cards in front of you like a poker hand and remember one of the cards." Watch closely as he does this and estimate, by looking intently at his eyes, approximately what number card down from the top you believe he has thought of. Lets say you believe he is thinking of the fifth card from the top. &

hJtZ^T*^ !°°kS UP at y°U' Say' "Then> close the and sandwich your pile youTurn the twnnf ° °w table'" Indicate that he sh™ld square his cards while rCmain °n 1116 table face Gesture for him to place cSd pife ^d rSace P * °n ^ ^ He 1S to P1^ up the remaining seven-

begin an "erWi stuffle'whos ^ Immediately I** up th'combined packet and packet on top J t sequence follows: Run seven cards and throw the the number of ctds you tS * Tu™ ^ the ^nty-One Card Trick . . - Run

(five, in our example) then nT ^f ^ the P°sition of hls card in the center packet know . . . , blCk °n tOP °f thc Packet aS Say' ' * * **

"that the cards are dealt intolteerZ^^ °U t0p aS fmish 1116

-t, and he did think of the fiftv,°Wi>°fSeven cards each. " If your assumpuon is

're mistaken, the trick will enri *L*^ n°W, be on the bottom of ^ pa<*


--------- mm <_cira, it will now be on the bottorr

If you're mistaken, the trick will end in a fantastic fashion nevertheless.

Possibility One: Say, "They're dealt face up into three rows," and immediately stud-dealing the cards into three rows of seven, turning the cards face up as tin.

nlaced onto the table. The first three cards are dealt in „ ■

and then the second three are dealt onto th^e in the sle rZion"1 About halfway through the deed say, « hout pausing or looking up. 7presume that you have seen your card. If the spectator replies "Yes," then you know that you guessed incorrectly and his card ,s one of the first three you dealt (fie i l^ Z.

if hf -v™ • „«v ... 1 ucd" >"8-1 shows the poss.bil.ties). If he says Yes, ask, "Which row is it in?" The spectator will po.nt to one of the three rows, and you instantly know that the top card of that row is his selection. Continue to deal out the balance of the cards until the three rows of seven

have been formed.

Possibility Two: If, when you say, 7 presume that you have seen your card," the spectator says, "No," then you immediately continue dealing out the balance of the packet, but continue to hold the final card face down in your hand. Now repeat the question, "Have you seen your card." If he now answers "Yes," then you know his card is one of the three final cards dealt (fig. 2 shows the possibilities.) If he has answered "Yes," then ask him which row it's in, and you instantly know the identity of his selection.

Possibility Three: If he replies "No," then you now know that your guess (five, in this example) was correct, and the card which remains in your hand is his selection.

Ending for Possibility One: You know the selected card is one of the first three dealt. As you scoop up all the cards on the table, eventually leaving only the thought-of card, say, "Would you please tell me, so the whole audience can hear, what was the name of card that you mentally __ . ^

selected?" The timing is vital to the humor-you must have all the cards off the table, so only his card is staring him in the face, when you reach the end of the sentence.

Jn other words, you must not give him time to answer.

Ending For Possibility Two: You know that his thought-of card is one of the last three dealt. Say, "Would you please tell me, so the ivhole audience can hear what was ^ name of card that you mentally selected?" Use the card remaining in your hand to «coop up all the cards except his selection before he has a chance to name it. The timing is the same as for the preceding contingency.

Ending For Possibility Three: You know, and the spectator will rapidly guess, that the selected card is the one remaining face down in your hand When he replies that he does not see it on the table, say, "Do you know why? Simply turn over the card in

* *--- J---Viir-r-1 faint your hand and watch him faint.

Regardless of which path you've taken in Part One, gather all the cards at the end, turn them face up and hold them in dealing position.

Part Two: You will now form three new seven-card piles in preparation for the second selection. Do this by spreading off the cards in pairs, keeping the cards spread (fig.3 shows the first pair being taken by the right hand). This pair of cards is dropped to the table as is, and for consistency's sake this is repeated with two more pairs, and then a single card is dropped on top of all. Do this a total of three times to form three packets as you count aloud, "Two, Four, Six, Seven. Two, Four. Six, Seven. Two, Four, Six, Seven. The result of this, shown in figure 4, is that the rear card of each packet (the top card if the packet were face down) is plainly visible to you.

Say, "Please pick up a pile . . I When the spectator reaches for one of the packets, simply note the lowermost (rear) card. Immediately continue, ". . . and shuffle it." The small size of the packet will leave only one possible option for shuH of the nprUt „nil «1 . fling—an Overhand Shuffle. The size

^umb ^d th^n ^t TS!**** he peels the cards one at a tame with his thumb, and this will control the noted card to the bottom of the packet.

c"Stop shuffling. Look at the Wm shuffle the last oacZt i^ °Wn" Shu^e another P™ket. Put them down, spectator VaTfX^ed Tot ^ 'T » ^n *

twenty-one card packet but I * I mStructlons- his card will truly be lost in t <• what It is. P Ct' bUt Smce he Poetically forced it on himself you know exactly toward you and out of ^sntVl!^?. Up in your ^ft hand, keeping the face tiM

spectator s line of vision. Very quickly deal out three rO*s

of seven cards each, face down, following the pattern established in Part One Remember where you deal his card as it goes by. The cards are dealt Stud-style and are turned face down extremely rapidly as they're put on the table. As you do this, say, "As you remember, in the original 'Twenty-One Card Trick' the cards were dealt into three rows of seven cards each." Say, with a straight face, "I presume you've seen your card?" He'll reply, "No." Comeback, "I wonder why." This gets a chuckle.

Now say, "What row is it in?" and immediately hold up your hand like a traffic cop and interrupt, "Don't tell me, I'll tell you." Another chuckle. Gather up all the facedown cards in the two rows which do not contain the selection and say, "Was I right?' Another chuckle, and the spectator will look at you as if you are insane.

Say, "So far, I have asked you a series of questions just like they do in the original 'Twenty-One Card Trick.' So far you have failed to give me a single solitary answer. If I could find your card by just asking you one question, would that be a good trick?" He will say, "Yes." Say, "Well, if I've only got one question, it's going to be a good one. Gather up all the face-down cards in the remaining row with the exception of the chosen card and say, "What was the name of your card?" After he replies, turn over the last card on the table.

The Out (or Part Three): There is always the remote possibility that the spectator will begin his Overhand Shuffle by accidentally shuffling two cards to the bottom which means the Force card is second from the bottom and he will not see it If that happens, and you see it. then simply allow him to continue shuffling and ask him to put that packet back on the table. Try again with the next packet, and i^t doesn t work there, then try again with the third packet. You have three >

him to correctly shuffle the top card to the bottom. Even if he misses all ^ Umes it doesn't matter! because Steve has an ingenious method for dealing with this situation which you might want to use anyway as a third part oi the routine.

If the spectator fails, on the third try, to shuffle the top card to Packet, then simply ask him to remember the bottom card. Then, ask him to drop that packet, which has the card he noted on the bottom, onto either of the t*o packets on the table (which you have turned face down). Then he is to pick up remaining packet and drop that on top of all. This positions the card he has noted v fourteenth from the top.

Pick up the reassembled packet (it is face down) and do an Overhand Shuffle v -v the following sequence: Run seven cards and throw the packet on top. RUn six and throw the packet on top. Run one card and then continue shuffling off 7 - ' controls the fourteenth card to the bottom of the packet.

While still holding the packet in Overhand Shuffle position, Glimpse the borr card by placing the right first finger on the face of the packet and pressing 10 the ic^ This buckles the packet so you can see the index (fig.5). Then say, 'Here yo-] be-

shuffle them yourself Just to be sure. He shuffles. You take back the packet and d "T out three rows face down exactly as in Part Two so you know the location1 f ? selection. Conclude the same way. * me

This combination of methods makes for a totally impenetrable mystery that k accomplished with virtually no sleight of hand. 3 mat ls

Of course Paul Cuny knew that "Out of This World" could be done without the guide cards, and without making four piles, but he always pointed out that the routine was designed to be so simple that anyone could do it. There was, no question, method to his madness, since "Out of This World" is one of the most-performed card effects of the last fifty years. Since the trick was first published there have been many variations. Why publish another? Because this handling is superb, and for many people (those not afraid of a sleight) a better handling than the original. No one reading this book is overly concerned with tricks that are easy to do. Sleights are good: they make good tricks better. Steve Draun's handling of this classic is the most visually straightforward to hit print. There is no fiddling around with anything at the end . . . the two halves of the deck are spread on the table to reveal that the cards have been separated into reds and blacks. There is no cutting, shuffling, shifting, or any kind of open mucking about that diffuses the cleanliness of the illusion.

Prepare as usual, by secretly separating the deck into reds and blacks before the trick begins. Give the deck a convex bridge by making a Pressure Fan or simply squeezing the ends sharply downward while holding it in Biddle Grip. Next, cut off the upper half (consisting entirely of one of the colors) and give it a sharp concave bridge, bending the ends upward. Cut this half to the bottom. The deck will now consist of two halves, each containing a different color and bridged in opposite directions (fig.l). (Note that all bridges in the illustrations are exaggerated for clarity.) This is the position of the cards when the trick begins.

«56, 935, 128, 170. 496 on the inside of the flap of your cardcase. Thxs

Presentational point that will become clear as you read iurtner.

With the deck in face-down dealing positron in ^i^hetZtld

^ke University carried on experiments in extra-sensory playing cards

^ term e.s.p., and he invented e.s.p. cards which are about the size oj p J .

We mere, ^^^ E Te £ te^ X—r o/ what Dr. RHine does. SMce , don, have ^ cards, I'm going to use playing cards.

Continue, "What Dr. Rhine does is to give the cards a shuffle . . . , " as you take the face-down deck with your right hand and Overhand Shuffle as follows. Your left thumbtip reaches to the upper edges of the cards and, because of the bridge, is able to chop off the entire upper half of the deck (fig.2). Your right hand immediately pulls out all the under cards and begins shuffling them onto the cards in the left hand. This simple shuffle preserves the separation of the deck, and merely reverses 2 the order of the bridged halves.

Repeat the shuffle a second time to return the deck to its original position as shown in illustration 1 as you continue, ". . . and then he has a subject deal the cards out and try to arrange them in a certain order."

Continue, "I want you to forget about the value of these cards and concentrate only on the fact that there are red cards and black cards. Deal two piles, placing what you believe are the red cards in one pile and the black cards in the other pile. Since we know that there are an equal number of black and red cards in the deck, try to keep the size of both piles about even with one another." Hand the deck to the spectator and repeat, "Take the deck and deal out the red cards into one pile and the black cards into another."

As the spectator separates the deck (keep an eye on him to make sure he's being a good spectator"), say, "The actual odds of anybody being able to separate the cards into reds and blacks like this were reported by Dr. Rhine, and I keep it written down on the inside of the card box. Its 456, 935, 128, 170, 496 to one." Pick up the cardcase, lift the flap, and display the number to the audience. For some strange reason, people always believe something when it's written down. After a moment, place the cardcase aside.

One at a time, draw the two piles a bit closer to you so both are, say, six inches from the edge of the table. Say, "Which pile did you mean to contain the black cards and which pile to contam the red cards?" It is during this line of patter that the clean-

11 hrd™redt1YOUr,nght hand HftS the P^e on ^eTeffrd places it into the fee patter"savinp ^ PaCket'S edge here< d™g whlch you Le at the part of bridge of the upjfer half ofthePptklf f™ " ' " Because of the co^

right hand without anV sort of ^ CaSy matter to lift those cards ^

just done, makes it ^ easier BoTu' ^^ * the side °f 1116 ^ Tf vou en easier. Both hands now move at the same time, while >oU

simultaneously look up at the spectator. The right hand, taking the upper half of the first packet, glides directly toward the other half of the deck, still on the table, while the left hand drops straight down to behind the table edge (fig.4). The right hand lands on top of the second half of the deck. Draw that half of the deck, with the right-hand cards now added to the top, inward until it drops off the table edge and onto the cards already in your left hand (fig. 5).

Immediately raise your hands a few inches, turn the deck face up, and do a wide ribbon spread to reveal that the cards are separated into reds and blacks.

The notion of displacing or reversing cards while at the table edge, concealed by an inward scooping action, is one of Steve's favorites. In this trick, the move is quite bold. It appears as if the first half of the deck you've picked up is taken by the right hand and dropped on top of the second half as it is scooped off the table. The fact that half of the packet remains in your left hand is not seen because your right hand makes a much more prominent forward motion, and because you look the spectator dead in the eye at that moment.

The technique, however, is not dependent upon such misdirection. For example, if there are spectators directly to the right or left, Steve will Use a more covered handling. The nght hand would scoop the first Packet off the table, into the left hand which waits at the table edge. This naturally positions both hands at the |able edge. Now, the right hand takes the upper half of the packet and rnoves forward toward the second Packet, while the left hand drops

a W S

, , u i , table edge for a moment. It rises back to the table edge to meet completely below the table edge 10^ jf ^ ^ ^ ^ suff the right hand as somehmes even move his left hand forward t^taronce the nght hand has begun moving forward (fig,6 an rstw ^spSentview of the table). In this case, both hands move forward and I t Z t^ same speed though the left hand doesn't need to move nearly so far fortrd. U c^topTnc'e it is completely out of sight beneath the table.

These techniques of either holding out cards from the bottom of a packet to effect a displacement, or rotating the held-out cards to effect a reversal, can be done while either standing of sitting—it makes no difference. If standing, then you must lean forward, which would be the natural thing to do if sliding packets off the table.

The displacement described in this trick can also be used in any routine where you want to retain the bottom stock of the deck while ostensibly allowing the spectator to cut the cards. For example, assume that you've culled the Aces to the bottom of the deck in preparation for a routine. Place the deck on the table and ask the spectator to cut the cards in half. Gesture so that he understands he is to cut off the upper half of the deck and table it to the right (your right) of the lower half. With your right hand, scoop the lower half (on the left), into your left hand which waits at the table edge. Without pausing, your right hand simply leaves the lower portion of this , , . . , packet in the left hand and moves tv? Cmgv ,CardS 11 rCtainS °n toP of the half of the deck remaining on the at Ae ^ then SCO°Ped off the table, into the waiting left hand elds above themi I v & 8 the Aces a random small number of indifferent held ie b°;t0m °f the deck- The Skiing application should

Deal. ' s are now ready for, among other things, a Bottom repltedTn^ft/S1^^ ™ ******* - M.U.M. in October. 1978, and later publications where^e car^°are^olen^ ^ ^ ^^ ^

hand is allowed to drop to"he ^L t^ T^ C°P While Standing *

iae' 18 Jon Racherbaumer's invention.

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