A few years ago I wrote to Colm Mulcahy and we discussed an idea of mine using his principle. I published it in my 2022 book, Card Startlers. It's not a startler, but a bit of fun. Here it is for readers of David's Cardopolis.
Paul Gordon's Everything In Threes
You need two “maths” dice. These are dice numbered from seven to twelve. So, start with the four Threes atop the deck and jogshuffle keeping them there. Talk about a craps player friend (which “ties in” the dice) who did everything in threes. Then deal the deck into two piles dealing rotationally. Each pile contains twenty-six cards and there are two Threes on the bottom of each. Say, “Let me show you something I showed him. Choose a pile.” Whatever pile they choose, pick up the other and deal it into two piles as you say, “My friend was happy. We now had three piles!” Pick up the larger half-deck pile and hold in dealing grip. Say, “Please roll the pair of dice three times. When done, we’ll use the final total.” So, after the third roll (everything in threes), total the dice. Assume it’s sixteen. Deal sixteen cards to the table and drop the inhand cards on top. Pick the whole up. Say, “Don’t forget, everything in threes!” Deal sixteen cards again and drop the remainder on top. Pick the whole up and repeat the sixteen-card deal again. Drop the inhand cards on top. Turn over the top card to reveal a three as you say, “Yes, I thought it’d be a Three!” Place it aside. To end, turn over the new top card of the big pile and then the top cards of the two smaller piles to reveal the other Threes. “Yes, everything in threes!”
I’m very much enjoying the card tricks presented in this newsletter, David. Hence, I am leaving yet another comment!
“Call My Name” provides an ingenious solution to the repetitive dealing required when using Colm Mulcahy’s Low Down Triple Dealing Principle. The presentation sets up the effect beautifully and would be perfect for a Halloween or Bizzare Magick performance.
The Bloody Mary Curse was a well-known urban legend during the 80s and 90s. It had various versions, but the most popular way of invoking her ghost that I remember from my school days was to say her name three times while looking into a mirror. However, the girls at my partner’s school used to play a particularly cruel prank based on this ghost story. They would encourage someone to perform the ritual in front of the bathroom mirror, and then, as the person said the name for the last time, they would turn off the lights, leaving the person in total darkness. Worst still, they'd block the bathroom door from the outside so that their victim was unable to escape. As a result, she hates looking at mirrors in the dark!
To add more drama to the second phase of the trick, you could lean into this aspect of the presentation and reverse the Queen of Hearts, rather than a second selected card. Then, after locating the chosen card, pass the deck to your participant and dare them to say “Bloody Mary” three times in a row. When they spread through the cards, they will find the Queen of Hearts flipped over, which should unnerve them, especially if you have a friend/stagehand turn off the lights!
Incidentally, I’m writing up two similar tricks for my blog, “The Man with the Axe” and “The Axeman Cometh”, based on the infamous serial killer, The Axeman of New Orleans. The above handling would work with this presentation, if you substitute the King of Diamonds for the Queen of Hearts.
Marty
P.S. I’m also writing a book dedicated solely to variations of Dr Daley’s Last Trick. “Aces Allegro” is an exquisite handling of the plot.
Yes, I think that would be a good way to lighten the mood after suggesting that your participant will now be haunted by a demonic mirror witch! Maybe the production could actually involve a mirror somehow?
This would also work as a final load in a cocktail-themed cups and ball routine. I've been contemplating developing an act along these lines, so that your audience actually gets to consume the drinks you magically produce.
Further to the t-Find-It problem, one notion I had was to change the effect a little. Instead of the spectator placing the reversed card next to the selection, maybe they place it so you can spell or count to their selection. This necessitates placing the reversed card several cards from the bottom of the packet. An easy way would be to glimpse the bottom card then shuffle or move a few to the bottom. You might reverse a 5 Spot, five cards from the bottom of your packet. But when you count that 5, the selection will either end up on the last card counted or it will be the next one. And that difference is easy to work with.
However, Dominic Twose emailed a much better idea that he published in his book Impromptu Secrets. It’s a clever solution because it attempts to eliminate the error before it happens rather than fix it later. Here is what Dominic says:
“I have a version of U Find It in my Impromptu Secrets. I guess the problem you allude to is if they slide the card between the selection and the reversed card. The chances of that happening increase if the deck has a natural convex bend in it, because that opens up a gap between thee selection and the reversed card. My solution was to give the cards a slight concave bend before you start.”
You can get Dominic’s book from International Magic
I had a similar thought today. I like the idea of the "Off by one!" message on the back of the reversed card. However, you could write a number on the back of the card, such as 3, and then count three cards (face up) to reach the selection. If there's no reaction when you deal the third card, you reframe your actions and act as if you always intended to deal three cards and then turn over the next card. Your idea of using a spot card is better, though.
Regarding "U-Find-It", the thing that makes it ever so slightly risky is the small chance that the participant places the "reversed card" (?) directly below the face-up key card. One solution is to write "Off by one!" on the back of the key card reversed on the bottom of the deck. When the card below it is turned face up, if it is not the chosen card, you can turn the reversed card over to display the message. However, if it is the selection, pocket the reversed card without showing the message on its back.
If you don't like this solution, you could always palm off the selection while everyone reacts to your participant's apparent failure. Then ask your participant what card they chose. Say, "Well that's not possible. I keep that card in my pocket/wallet!" and then remove it accordingly.
Geert Blancke from Belgium emailed three solutions to the U-Find-It problem:
Solution 1: Take the deck of cards and spread the cards in the hands until you see the reversed card. Split the deck at the reversed card.
Put the reversed card on the table and say that the next card will give you some information about the earlier chosen card.
Turn over the two top cards as one (double lift).
Depending on the reaction, you will know if it is the earlier chosen card. When you see that it is not the chosen card, turn over the two cards again as one and slide off the top card and ask the name of the chosen card. You say, well that is the card I showed. Spectator will say NO. Turn over the tabled card.
Solution 2: Lift off the two top cards as one and glimpse the bottom card. Ask spectator the name of the earlier chosen card ?
If it is the same as the card you glimpsed, turnover the double, showing the card.
If it is not the same put the cards back on top and slide off the top card...
Solution 3: Fan the cards in the hands with the faces towards yourself, asking the spectator if he sees the reversed card.
The moment you see the card next to the reversed card, close the fan and spread the cards between the hands until you see the reversed card.
Ask the name of the chosen card. If it is the same as you just glimpsed, tell spectator he put the reversed card just next to his earlier chosen card...
If it is not the same, tell spectator he put the reversed card just next to his earlier chosen card...split at reversed card and turnover the two top cards as one ....
These are all great solutions. Thanks, Geert! Solution 2 retains the core effect, so I like it the best. You could also remove the top card, peek at it, and perform a Top Change on the off-beat if needed.
Wow, "The Slade Experiment" is excellent, David. The handkerchief version is more elegant, but the openess of under-the-table version is very disarming, too. Directing attention elsewhere is easy as the cord is pulled through the ring by handing the other end to a spectator to hold.
Could you complete the knot one-handed in your jacket pocket? You might need to use a small peg, hidden in your pocket, to substitute for your thumb. A daft idea, perhaps!
You could also perform this trick like Corinda's "Powers of Darkness" by asking your participant to close their eyes and hold the ends of the cord while you complete the knot. Once you finish, take the cord from them and secretly draw the end through the ring as you show them how to tug on the cord. Finally, let them pull on the cord to remove the slip knot themselves. Hopefully, they'll misremember the effect and think they always kept hold of the two ends.
Thanks, as always, for sharing your clever tricks with us. 😁
Thanks Marty. Funny you should mention Corinda's Powers of Darkness because I have a similar trick that is along those lines and was also inspired by Paul Curry's Linked. Will put it in an upcoming Cardopolis.
Re the peg in pocket idea, I'd originally considered a hook beneath the table (bit like a bug as used in card cheating) but it turned out to not be necessary. The whole thought process started by trying to do Jack Avis' Loops Entwined behind a book that was open and standing on the table. Like Fred Kaps Ring Off String (It's So Simple lecture at Magic Circle, 1965). Use a book about Spiritualism and the linking ribbons effect could be worked into a presentation about Henry Slade. The book cover works very well when it comes to linking the ribbons, and makes a good alternative to the handkerchief on table as in the Avis version. Again, I thought a hook might be necessary (as per Elizabeth Warlock's version Linklater (Pentagram July 1950). But if you use a book with heavy glossy pages, you'll find that these act as effect guides for the ribbons. Again, if I get a chance, I'll post a video.
Using a book as cover is great idea and also enhances the presentation. Thanks again for sharing this wonderful trick. I'm definatley going to give it a go!
Dear David. I've not read/watched your new digest yet, but I have a very nice routine (imho) using the Mulcahy principle which I'd like to send to you via email. I'm proud of the presentation and think you might enjoy it. If interested, please let me know at pgmagic@btinternet.com and I'll send it to you. It's described in one para. ♥ Paul Gordon
A few years ago I wrote to Colm Mulcahy and we discussed an idea of mine using his principle. I published it in my 2022 book, Card Startlers. It's not a startler, but a bit of fun. Here it is for readers of David's Cardopolis.
Paul Gordon's Everything In Threes
You need two “maths” dice. These are dice numbered from seven to twelve. So, start with the four Threes atop the deck and jogshuffle keeping them there. Talk about a craps player friend (which “ties in” the dice) who did everything in threes. Then deal the deck into two piles dealing rotationally. Each pile contains twenty-six cards and there are two Threes on the bottom of each. Say, “Let me show you something I showed him. Choose a pile.” Whatever pile they choose, pick up the other and deal it into two piles as you say, “My friend was happy. We now had three piles!” Pick up the larger half-deck pile and hold in dealing grip. Say, “Please roll the pair of dice three times. When done, we’ll use the final total.” So, after the third roll (everything in threes), total the dice. Assume it’s sixteen. Deal sixteen cards to the table and drop the inhand cards on top. Pick the whole up. Say, “Don’t forget, everything in threes!” Deal sixteen cards again and drop the remainder on top. Pick the whole up and repeat the sixteen-card deal again. Drop the inhand cards on top. Turn over the top card to reveal a three as you say, “Yes, I thought it’d be a Three!” Place it aside. To end, turn over the new top card of the big pile and then the top cards of the two smaller piles to reveal the other Threes. “Yes, everything in threes!”
I’m very much enjoying the card tricks presented in this newsletter, David. Hence, I am leaving yet another comment!
“Call My Name” provides an ingenious solution to the repetitive dealing required when using Colm Mulcahy’s Low Down Triple Dealing Principle. The presentation sets up the effect beautifully and would be perfect for a Halloween or Bizzare Magick performance.
The Bloody Mary Curse was a well-known urban legend during the 80s and 90s. It had various versions, but the most popular way of invoking her ghost that I remember from my school days was to say her name three times while looking into a mirror. However, the girls at my partner’s school used to play a particularly cruel prank based on this ghost story. They would encourage someone to perform the ritual in front of the bathroom mirror, and then, as the person said the name for the last time, they would turn off the lights, leaving the person in total darkness. Worst still, they'd block the bathroom door from the outside so that their victim was unable to escape. As a result, she hates looking at mirrors in the dark!
To add more drama to the second phase of the trick, you could lean into this aspect of the presentation and reverse the Queen of Hearts, rather than a second selected card. Then, after locating the chosen card, pass the deck to your participant and dare them to say “Bloody Mary” three times in a row. When they spread through the cards, they will find the Queen of Hearts flipped over, which should unnerve them, especially if you have a friend/stagehand turn off the lights!
Incidentally, I’m writing up two similar tricks for my blog, “The Man with the Axe” and “The Axeman Cometh”, based on the infamous serial killer, The Axeman of New Orleans. The above handling would work with this presentation, if you substitute the King of Diamonds for the Queen of Hearts.
Marty
P.S. I’m also writing a book dedicated solely to variations of Dr Daley’s Last Trick. “Aces Allegro” is an exquisite handling of the plot.
Since Bloody Mary is also a cocktail, there is the opportunity to produce one at the end of the trick. That might be funny.
Yes, I think that would be a good way to lighten the mood after suggesting that your participant will now be haunted by a demonic mirror witch! Maybe the production could actually involve a mirror somehow?
This would also work as a final load in a cocktail-themed cups and ball routine. I've been contemplating developing an act along these lines, so that your audience actually gets to consume the drinks you magically produce.
Further to the t-Find-It problem, one notion I had was to change the effect a little. Instead of the spectator placing the reversed card next to the selection, maybe they place it so you can spell or count to their selection. This necessitates placing the reversed card several cards from the bottom of the packet. An easy way would be to glimpse the bottom card then shuffle or move a few to the bottom. You might reverse a 5 Spot, five cards from the bottom of your packet. But when you count that 5, the selection will either end up on the last card counted or it will be the next one. And that difference is easy to work with.
However, Dominic Twose emailed a much better idea that he published in his book Impromptu Secrets. It’s a clever solution because it attempts to eliminate the error before it happens rather than fix it later. Here is what Dominic says:
“I have a version of U Find It in my Impromptu Secrets. I guess the problem you allude to is if they slide the card between the selection and the reversed card. The chances of that happening increase if the deck has a natural convex bend in it, because that opens up a gap between thee selection and the reversed card. My solution was to give the cards a slight concave bend before you start.”
You can get Dominic’s book from International Magic
https://www.internationalmagic.com/p/own-range/impromptu-secrets-dominic-twose
I had a similar thought today. I like the idea of the "Off by one!" message on the back of the reversed card. However, you could write a number on the back of the card, such as 3, and then count three cards (face up) to reach the selection. If there's no reaction when you deal the third card, you reframe your actions and act as if you always intended to deal three cards and then turn over the next card. Your idea of using a spot card is better, though.
Regarding "U-Find-It", the thing that makes it ever so slightly risky is the small chance that the participant places the "reversed card" (?) directly below the face-up key card. One solution is to write "Off by one!" on the back of the key card reversed on the bottom of the deck. When the card below it is turned face up, if it is not the chosen card, you can turn the reversed card over to display the message. However, if it is the selection, pocket the reversed card without showing the message on its back.
If you don't like this solution, you could always palm off the selection while everyone reacts to your participant's apparent failure. Then ask your participant what card they chose. Say, "Well that's not possible. I keep that card in my pocket/wallet!" and then remove it accordingly.
Marty
Geert Blancke from Belgium emailed three solutions to the U-Find-It problem:
Solution 1: Take the deck of cards and spread the cards in the hands until you see the reversed card. Split the deck at the reversed card.
Put the reversed card on the table and say that the next card will give you some information about the earlier chosen card.
Turn over the two top cards as one (double lift).
Depending on the reaction, you will know if it is the earlier chosen card. When you see that it is not the chosen card, turn over the two cards again as one and slide off the top card and ask the name of the chosen card. You say, well that is the card I showed. Spectator will say NO. Turn over the tabled card.
Solution 2: Lift off the two top cards as one and glimpse the bottom card. Ask spectator the name of the earlier chosen card ?
If it is the same as the card you glimpsed, turnover the double, showing the card.
If it is not the same put the cards back on top and slide off the top card...
Solution 3: Fan the cards in the hands with the faces towards yourself, asking the spectator if he sees the reversed card.
The moment you see the card next to the reversed card, close the fan and spread the cards between the hands until you see the reversed card.
Ask the name of the chosen card. If it is the same as you just glimpsed, tell spectator he put the reversed card just next to his earlier chosen card...
If it is not the same, tell spectator he put the reversed card just next to his earlier chosen card...split at reversed card and turnover the two top cards as one ....
These are all great solutions. Thanks, Geert! Solution 2 retains the core effect, so I like it the best. You could also remove the top card, peek at it, and perform a Top Change on the off-beat if needed.
Wow, "The Slade Experiment" is excellent, David. The handkerchief version is more elegant, but the openess of under-the-table version is very disarming, too. Directing attention elsewhere is easy as the cord is pulled through the ring by handing the other end to a spectator to hold.
Could you complete the knot one-handed in your jacket pocket? You might need to use a small peg, hidden in your pocket, to substitute for your thumb. A daft idea, perhaps!
You could also perform this trick like Corinda's "Powers of Darkness" by asking your participant to close their eyes and hold the ends of the cord while you complete the knot. Once you finish, take the cord from them and secretly draw the end through the ring as you show them how to tug on the cord. Finally, let them pull on the cord to remove the slip knot themselves. Hopefully, they'll misremember the effect and think they always kept hold of the two ends.
Thanks, as always, for sharing your clever tricks with us. 😁
Thanks Marty. Funny you should mention Corinda's Powers of Darkness because I have a similar trick that is along those lines and was also inspired by Paul Curry's Linked. Will put it in an upcoming Cardopolis.
Re the peg in pocket idea, I'd originally considered a hook beneath the table (bit like a bug as used in card cheating) but it turned out to not be necessary. The whole thought process started by trying to do Jack Avis' Loops Entwined behind a book that was open and standing on the table. Like Fred Kaps Ring Off String (It's So Simple lecture at Magic Circle, 1965). Use a book about Spiritualism and the linking ribbons effect could be worked into a presentation about Henry Slade. The book cover works very well when it comes to linking the ribbons, and makes a good alternative to the handkerchief on table as in the Avis version. Again, I thought a hook might be necessary (as per Elizabeth Warlock's version Linklater (Pentagram July 1950). But if you use a book with heavy glossy pages, you'll find that these act as effect guides for the ribbons. Again, if I get a chance, I'll post a video.
Using a book as cover is great idea and also enhances the presentation. Thanks again for sharing this wonderful trick. I'm definatley going to give it a go!
Terrific new issue, thanks!
Thanks Bob
Always a pleasure getting your emails. Thanks for sharing such great contecnt.
Dear David. I've not read/watched your new digest yet, but I have a very nice routine (imho) using the Mulcahy principle which I'd like to send to you via email. I'm proud of the presentation and think you might enjoy it. If interested, please let me know at pgmagic@btinternet.com and I'll send it to you. It's described in one para. ♥ Paul Gordon
Thanks Paul. Would love to see it. Have replied via email.
Hi David. I didn't get your email and I tried to send it to you via this one. Can you please retry to pgmagic@btinternet.com or paulgordonmagic@gmail.com - Cheers, PG