You See?

Quite a few years ago I became intensely interested in magic. As a hobby I found it a respite from studio work which, in those days, was a time clock job. It was great fun then, the pause between “shots”, and during the sandwich with coffee while the “grips” griped at our absence on a set which was ready, to find the card which had been selected from a dirty counter deck.

I’ve gotten so much enjoyment from magic, even though I’ve been rather remote from it professionally, and while it doesn’t immediately concern those who read the Jinx for a good trick, I must put in a word against the exposer who sells a secret for a sixpence and laud the legerdemanist who sells a symphony for his soul.

My “magic” gradually turned from the manipulative stage to that which pertained to the mental. Since the great war there has been a “wave” toward things psychic. Entertainers, being what we are, must follow trends and relieve the pressure which results from everyday conditions. An entertainer can do that. The charlatan but leads them farther astray. Let those of us capable do our utmost to keep the minds of the audience, not upon problems of the present, but, for a little while, in a realm where they can relax and believe as they wish. A true entertainer has no creed.

The Trick

But, we have a trick coming up. Otherwise I wouldn’t be “three-sheeting” the front page of the Jinx. Let’s “kill” all of the “babies” and keep the secret between ourselves. (That’s what you think. Ed.) You asked for one of my pets, Ted, and you get a card trick. (I was just a bit worried about that. Ed.) It is of the mental type though, because everything happens under conditions which absolutely preclude the possibility of any manipulator making merry.

In this effect the performer locates three cards chosen under what should appear to be impossible circumstances.

• First spectator shuffles the cards, thinks of one, removes it and places it face down, shuffles the rest, and lays the full deck on the performer’s palm.
• Second spectator cuts the deck, notes the card on the face of the cut, and replaces the cut portion while the performer’s back is turned.
• Third spectator steps behind the performer, removes a card, notes it, places it on top, cuts as often as desired, and places it down.

A fourth spectator deals the cards face up, and the performer identifies all three selected cards and who selected each.

Method

A one-way or single-ender deck is used.

First spectator’s actions reverse the orientation of their chosen card. The performer glimpses the bottom card as the deck is placed in hand.

Second spectator reverses a section during the cut process.

Third spectator adds the selected card (formerly glimpsed) above their chosen one through casual handling and cuts.

The cards are then dealt face up:

• The first card is the only reversed card.
• The second is the last card of the reversed section.
• The third is directly after the originally glimpsed card.

Though none of the techniques are original individually, their combination in one routine gives it a strong cohesive effect. The routine is non-manipulative and gives a strong impression of mental ability.

It can be optionally presented by the performer doing the final deal and calling out the impressions as the cards are revealed.