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This trick was inspired by an effect described by Billy McComb in Magic Circle Magic who said the theme was one evolved by Stanley Collins. The following method is one I worked out specifically to suit my own inability and taste. The effect remains similar to the original idea, which is as follows.

A piece of tissue paper is rolled into a ball around a piece of thread and hung over the arm

(1) as you explain to the audience that the ball of tissue paper is a 'pip-eating spider' whose sole diet consists of playing card pips. You proceed to prove this by taking the six of diamonds and feed it with the pips until the card is blank except for the indices. On unrolling the 'spider' the pips are found inside.

You will require a piece of white thread, a square of tissue paper, half a dozen diamond pips, a card which is blank except for the indices

(2) and a specially prepared fake (3), which is

half a six of diamonds cut diagonally with one of the centre pips erased completely and the opposite centre pip having the top half removed. Another half card is fixed to it using sellotape making a hinged card which can be slipped onto the card shown in (2), when it is in the ~»ack you are all set to go.

Show the square of tissue paper and roll it into a ball around the thread at the same time introducing the loose pips. Wrap the thread around the left arm leaving the 'spider' suspended. Take the pack and find prepared gimmick push it up out of the pack for about three quarters of an inch allowing the audience to see the index and appreciate that it is the six of diamonds. Remove card and gimmick holding it back to audience in the left hand as in (3). Pretend to remove one pip from the card and feed it to the spider. Repeat with a second pip after which you let the audience see the face of the card. Two pips have disappeared. Continue to feed the spider with a further two pips and in the process push the card and gimmick a little further down into the hand and 'accidently' let the audience see the face of the card which now seems to have only two spots. (4) In taking the fifth spot you secretly remove the gimmick keeping it hidden in the right hand as you feed the spider. As you take the last pip push the gimmick behind the card leaving it there. The card can now be seen to be blank except for the indices. The right hand takes the card with gimmick hidden behind it and puts it in the pocket.

Attention is now called to the spider which is opened to reveal the missing pips.

Should you require an additional climax use flash instead of tissue (also for the pips) and an artificial joke spider. When putting the card into the pocket steal out the spider which has been folded and secured with flash string. After disclosing the arrival of the pips crumple up the paper introducing the joke spider. Light the paper ball and toss it into the air and a lifelike spider will appear.

Continuous

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I use the following item as an alternative to my continuous cigarette production, the method of stealing and loading is quite different and is intended for items roughly twice the length of a normal cigarette, for example Ball Pens, Pencils, Cigars etc. The angles are well covered throughout and if you will try out the moves before a mirror, I think you will be pleasantly surprised with the result.

REQUIREMENTS:-

Two ball pens of the cheaper variety "BIC" are ideal — approximate length 6 inches. If used in the act the tops should have the clip legs cut off and then be dressed smooth after which the tops are best permanently glued to the pens proper, with "Evostick". Alternatively you may choose to use pencils of the same length or cigars — neither of which would require any treatment.

PREPARATION: -

The two pens are placed inside the coat pockets one pen in each pocket, the point of the pen in the right pocket should be pointing towards the audience.

Let me now explain briefly what we are attempting to do. As in most continuous productions of this type one of the pens is produced in the left hand, this pen is removed with the right hand, placed into the right coat pocket — immediately another pen pops up in the left hand again the right hand pockets this pen in the same way as before — and again another pen pops up into view in the left hand — and so on — indefinately. What actually happens is that the pen taken in the right hand is really retained in that hand, the hidden pen being transferred into position in the left hand at the moment the right hand touches the left hand when removing the produced pen from that hand.

Now that our aims are a little less vague (I hope) let me describe the action in detail.

1. The grip on the right hand pen is depicted in Fig.l — this is the pocket loading position and each time thr right hand is removed from the pocket the pen (point to audience) is held in this manner.

2. The left hand adopts a position as at Figs.2 and 3 — in line with the performer's body. The left hand remains in this position throughout the routine - THIS IS IMPORTANT.

3. The blending of BOTH HANDS for the loading and production are as follows :-

A pen is produced in the left hand Fig.3 Right hand approaches left with pen in loading position Fig.l and takes hold of the left hand pen at the base near the left hand 1st finger and thumb — this action places the right hand pen into position for stealing in the left hand — the left hand DOES NOT MOVE OR ACTUALLY TAKE THIS PEN FROM THE RIGHT HAND -THE RIGHT HAND places the point of the pen between the left 2nd and 3rd fingers where the point is gripped by the left fingers and because of the left hand position approximately 6 inches away from the body — the left hand loaded pen is made firm and steady by allowing the base of the pen to REST ON THE BODY - see Fig.2. Hence the reason for not moving the left hand during the action.

4. The right hand carries the pen to the fight pocket — left hand remains rigidly in position — The right hand places the pen into the pocket POINT TOWARDS AUDIENCE - where it is immediately AND WITHOUT FUMBLING -positioned in load position as before — now as the right hand is removed from the pocket — the left thumb goes under the pen in that hand

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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