Faked Pile of Magazines

Envelopes and cards are used in this method which make it easy to switch the cards and return each one, as answered, together with the envelope on which the spectator's name has been written.

White envelopes about 2" x 3" with gummed end flaps, are used, and cards a little smaller, that will slip easily in and out of the envelopes. One of the envelopes is prepared by having the glue removed from the flap, that is, most of it is taken off with a moist cloth, and enough glue remains so it will look natural but will not actually stick when it is "sealed" later on. This envelope is empty, it is given a secret identification mark, and we will call it No. 1.

A blank card is sealed in another envelope, bearing a secret identification mark, and this one we will call No. 2.

A special piece of equipment is employed, consisting of a faked stack of magazines some ten or twelve inches high. The magazine on top of the pile is not altered, but the others have all been cut out on the edge (Fig. 3) so as to form a secret recess when bound together as shown in Fig. 4. They are bound together by running wire through holes drilled in the stack, these holes going through all the cut magazines and through the lower half of the top magazine. Thus the wire does not show on top. Two envelopes of the type illustrated in Fig. 5 are glued one on each side of the recess. The position of the envelopes is such that a card can be easily slipped in or out of either one.

Arrange the properties as follows: On the right side of the table is the fake stack of magazines with the recess at the rear, of course. On top of the magazine is a crystal ball resting on a cushion or stand. Resting on table just inside recess is a short piece of soft pencil. In the center of the table is a glass dish or bowl. At the left end of table is a metal or Japanese tray on which you place, first, the No. 2 envelope, then the No. 1 envelope on top of No. 2, and, finally, nineteen unprepared envelopes on top of No. 1, these all forming one pile at one end of tray. A stack of twenty cards is placed at the other end of tray. A supply of pencils is carried in your pocket, and you are then ready to do the act.

Presentation and working: Grasp the tray in left hand, thumb on top of envelopes, fingers beneath tray. This will keep envelopes from slipping around. The cards, being heavier and flat, will not slide so easily, and it doesn't make any difference if they do.

Go down into audience and hand a card only (no envelope) to first spectator, requesting him to write his name across the top of the card, followed by his question. Say nothing about envelopes to him. Pass a card together with an envelope to the next spectator and likewise to other spectators as you quickly go from row to row, until all twenty cards are gone.

At this time, there are two envelopes left on tray, the top one being the No. 1, and beneath it the No. 2. You are talking all the time, you lose no time, you retrace your steps going from the rear down to the front, and you ask first spectator if his question is ready. He bas no envelope, and will probably say so, anyhow, performer asks spectator to seal it and the performer holds the No. ] envelope in his own hand with open flap toward spectator, adding, "turn the writing downwards and put it in this envelope." This done, performer "seals" the flap, places envelope on tray on top of No. 2 envelope, and asks spectator's name, "to identify it." Performer pretends to write name on envelope, but really writes nothing at all. Performer turns to another spectator, his sealed question is taken, his name ascertained, and apparently written on that envelope, but you actually write the name of first spectator instead, thus preparing for the one ahead system.

This process is continued until you collect all the questions, the last question (the 20th) bearing the name of the nineteenth writer. If the audience is fairly large you can do a little secret business at this point. You ant to get the twentieth name secretly written on the No. 2 envelope (containing the blank card). When you are given the 20th name, you quickly repeat this last name (no initials) as you rapidly write down the 19th name, and you walk quickly toward a row farther back, saying, "did I get all your questions here, etc.?" meanwhile secretly shifting the No. 2 envelope to the top of the pile as you straighten up the pile. You turn back quickly to the 20th writer and ask him, "Did I get your name correctly?--and the initials, please"--you look at the No. 2 envelope, you are already writing his name on it, as though going over with the pencil to make it clearer--and you then slowly and deliberately write his initials before his name, then repeat his name aloud (say, "C. W. Smith") as though to confirm. All this takes only a few seconds and merely suggests your desire to have all fair and square.

The No. 1 envelope, now on bottom of pile on tray, bears no name, but contains the first writer's question, and the flap is closed but not actually sealed. This No. 1 envelope is to be secretly gotten behind the magazine stack. It can be palmed off tray during your return to stage, or can be slid over on to bottom of tray and there concealed by the fingers, or it can be held b3/4 left thumb on top of tray when tray (back to audience.) is emptied of its contents into the glass bowl. From any of these positions the No. 1 envelope is easily dropped behind magazines on table.

If there was no opportunity to do the secret writing on the No. 2 envelope in the audience, this envelope is manipulated along with No. 1 so that they are both behind the magazines after the questions are dumped into bowl.

If the name is still to be written on No. 2, you sit down back of table for a few seconds, gazing into crystal and talking to the audience about what you are going to do, etc. You are secretly using the pencil behind the magazines to write the name on No. 2 envelope which is then palmed as you rise and ask for a volunteer in front row to hold the bowl. Of course, the palmed No. 2 envelope is slipped into the bowl, unnoticed. It is so easy to put the name on the No. 2 envelope while down in the audience that we strongly advise that method. It saves a lot of time.

You sit down and talk as you gaze into the crystal, left hand to forehead, and right hand behind magazines quickly pushing flap open of the No. 1 envelope and letting card slide out, you mentally read the question it bears, and the name, giving the answer. The card is slipped into one of the pockets in the recess, your hands are casually seen empty, you ask volunteer to find that name in the bowl and hand it to you. You tear it open, remove card, and pretend to read aloud the question it bears, but you actually say what is written on the card just answered, as in the regular one ahead system.

Holding envelope in left hand and card in right hand, you look at envelope and say the name, "------ did I get your question correctly?" At the same time, your right hand momentarily drops behind magazines, puts this card in one of the pockets and comes up with the No. 1 card--same name as on envelope in left hand, and these are now returned to the writer.

The one ahead method is continued throughout, the last envelope you call for from the bowl being the No. 2 with blank card which is exchanged for the last question you have just answered.

In the case of certain groups, such as dates in private homes, lodges, clubs, etc., the performer can ascertain in advance the name of one of the spectators, also getting a look at this spectator so he can be found when wanted. This spectator's name is written in advance on the No. 2 envelope. This spectator is given a card and envelope in due time, and it is the last one to be collected.