Knowing hundreds of tricks with cards does not make the best magician. In presenting a few problems they do trick after trick in whatever order they happen to think of them, rather than in a predetermined routine. This being one of my own faults, I set about to blend one effect into the next, so that instead of a blur of disconnected effects, the spectators would be aware of hardly more than one long effect which included many surprises, each following the other in a smooth sequence. Ten tricks are in this combination. I have found that where audiences will seldom remember more than one effect in any disconnected series, they will retain a vivid impression of the entire routine outlined.
Conforming with the title, this routine has been worked out to meet a situation where the performer must rely upon unprepared and borrowed cards entirely, and has no opportunity for a deck stack, no aces to gimmick, or prepared cards. Where conditions are not so stringent, effects of a not entirely impromptu nature can be included or substituted. The routine as given here runs from twenty to thirty minutes.
1. Composite Routine – Jinx #32
2. Follow Me – Jinx #27
3. Queer Quest – Jinx #47
4. Subconscious Mystery – Jinx 1938 Summer Extra
5. Ad Lib Spelling – Jinx 1936 Summer Extra
6. Jordan Plus Gardiner – Jinx 1938 Summer Extra
7. Miracle Speller – Jinx #18
8. Story of Crime – Jinx #28
9. Miraskill – Jinx #24
10. Torn Deck Trick – Jinx #17
After effect #1, express pleasure because of your success, so you state you will attempt to follow the thoughts of two persons simultaneously, and go into #2. Queer Quest, #3, follows along very nicely and #4 may be presented as a highly advanced experiment, as outlined in the text of this effect.
You state, however, that you are not always as successful because of adverse mental conditions, etc. In such cases, it is often necessary to resort to other means, as follows in #5. #6 is a perfect follow-up. It is next stated that the name of the card itself need not necessarily be used when locating the card, yet something equally pertinent is needed, as, for instance, the spectator’s own name. Which you proceed to demonstrate in #7, using the broken corner short made for effect #1.
#8 is not an effect strictly within the routine, yet it is a favorite of mine and one too good to be omitted from any impromptu routine. You might state which you have been able to locate the correct cards by spelling the name of the card, or the spectator’s name, the cards themselves may be taught to do their own detective work and that by this time the borrowed deck no doubt is properly “trained”.
After this effect the performer points out that in most of the effects presented, the cards have been in the hands of the spectators practically during the entire trick. Yet, there may be some who believe that his own handling, though slight, may have had something to do with the result. Therefore he will demonstrate his absolute control over the cards, even though they be completely out of his hands at all times.
Thus #9 follows, with performer behind a card table, or a stand of some sort, and a spectator on each side of it. Repeat this twice, with, of course, a different result each time, or three times in all.
Effect #10 makes a fine climax to the entire routine. For those who might not care to destroy a deck I might suggest some impromptu card rise of two selected cards as finish. If you use the torn deck trick and the host or hostess seems a bit put out, tell her you’ll send her a new one the next day. At any rate, the closing effect should be a little more spectacular than the others, and this one really fills the bill.
There aren’t too many repetitions of the same type of selections, shuffles, etc., and the routine as a whole is satisfactorily entertaining.
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