Skim Tokisd Samd Aid For Easy Hahoumo

How to Perform: Before beginning, place the paper clip over your belt... to the left of the buckle where it will be hidden by your coat. Place the magnet against the clip where it will be held by magnetic attraction. The magnet can now easily be obtained and- you,are all set to perform.

Patter about the legend of the Vampires. Take the steel pin...doing so casually as if it makes no difference which pin is taken. Inform the spectator that after you have turned your back he Is to select any one of the five hearts to represent the "VAMPIRE'S HEART" then he is to push the pin through this chosen heart to destroy the vampire. As you tell him what to do.. demonstrate the action -with the heart you are holding. Remove the pin (the steel pin) and hand it to him. Replace the heart on the table and turn back to the spectator.

Ask spectator to tell you when he has pierced the heart of his choice... ...when he has done so tell him to push each of the 4 remaining pins through each of .the 4-remaining hearts, so that it will, be impossible for you to tell which is the real "VAMPIRE'S HEART".

While the spectator is doing this .(yevr back is to him the whole time) remove magnet from your belt holder by clipping it between the 3rd and 4th fingers of the right hand*

When the spectator has finished impaling all.5 hearts, have him mix them around on the table. Turn to the spectator and explain that according to the Vampire legend...by removing the spike from the Vampire's heart he will return to life. Pick up one of the hearts with the left hand. With the thumb and first finger of the right hand remove the pin from the heart (the back of the right hand is facing the spectator, masking the magnet). As soon as the pin has been removed, lower the right hand and bri-g your left hand, containing the heart to your ear as if you are listening for sounds of life. As you do this you will have plenty of time to place the pin against the magnet in your right hand.

If the pin is attracted to the magnet you will know that you have the correct heart; naturally if the pin doesn't react to the magnet it will not be the selected heart. After you have checked each heart, replace pin in holder and place felt heart to one side. When you have tested all five hearts... dramatically announce the color of the chosen vampire heart.

This trick is very simple to perform and is practically automatic. Keep in mind that all attention should be directed toward the felt hearts and away from the pins... although everything can be examined (except the magnet, of course).

"PSYCHO" By Larry Becker

(Instructions Only)

Effect: A plastic box is shown. The small hole in the cover represents the magicians ability to see through the fifth dimension. Five ESP cards are handed to a spectator who places them behind his back. He reverses one card and buries it between the other face down cards. The box is then handed to the spectator. He places the packet of cards in the box still keeping all out of sight behind his back. The box is then turned over and brought forward where it is held between the palms of the spectator's hands. The magician gazes intently at the spectator's hands and proceeds to draw something on a piece of paper which is then folded and placed in full view. The spectator opens the box, removes the packet of cards and spreads them on the table. One card is face-up. It is the star design. The slip of paper is opened and it is seen that the magician drew a Star indicating that through the power of the fifth dimension he was able to penetrate human flesh solid p. astic,...andopaque cards with his amazing X-Ray vision.

This effect defies explanation. No magnets, no trick or marked cards and the box is not girmicked; everything may be examined.

Secret: In the set are one plastic box and five ESP design cards. The only other items you will need are a .3 x 5 file card and a pencil. The secret to "PSYCHO" is in the box and one. subtle move. The box appears to be opaque; however, this is only true to a point. To illustrate, open the box and place one card face down in the box. Close the cover and snap it shut. Turn the box over and look at the bottom. Nothing is visible,..the plastic looks opaque. Now insert your index finger through the hole in the cover of the box and press the card upward against the bottom side of the box. The design on this card will be clearly visible through the bottom of the plastic box. It is the principle which makes seeing through the 5th dimension possible...

To begin, stack the five cards in the following order - face-up on the table. CIRCLE„ CROSS, WAVY LINES, SQUARE, AND STAR. The order can easily be remembered. The circle is composed on one solid line, the cross two lines, the wavy lines three, the square four, and the star has five points. Turn the pack face-down so that the circle card is on top.

To perform: Show the box and state that it represents the 5th dimension and that the hole in the top represents your ability to see through the 5th dimension. Show the five design cards being careful to retain the order. Instruct spectator to place the packet of cards behind his back where he is to transfer one card at a time from the top of the pack to the bottom (demonstrate this). Continue on by stating that at any time he desires he is to stop turn the top card face-up...and slide his face-up card BETWEEN the remaining face-down cards.

When he indicates that he has done this...hand him the box with the top open and tell him to place it behind his back where he is to insert the pack of cards and then close the box. Now have him turn the box over (the cover with the hole will now face the floor) and bring it forward.

Now comes the only move in the entire routine. Study this closely. It should be done casually as if you are merely demonstrating how you want the spectator to hold the box. Take the box from the spectator with the LEFT hand...THUMB ON TOP and the remaining FOUR FINGERS ON THE BOTTOM (actually this is the top of the box) . The MIDDLE or INDEX FINGER of the LEFT HMD should be positioned right over the hole in the cover. State that you wish the spectator to hold the box in his left hand...and to cover the box with his right hand. As you state this start to place your RIGHT HAND over the box. As soon as your right hand hides the box from the spectator's view...PUSH UP THROUGH THE HOLE IN THE COVER WITH THE LEFT INDEX FINGER... PRESSING THE PACKET OF CARDS AGAINST THE BOTTOM OF THE BOX. At this instant a FAST GLIMPSE will tell you which ESP card is on the bottom of the packet. As soon as you have noted this card, remove the index finger and press the right hand tightly over the box. This entire action takes but a second to accomplish. The card you have just noted will reveal the spectator's reversed (or face-up) card. If the design you saw was a cross (2 lines) then the reversed card is the one which FOLLOWED it in the original set-up -the wavy lines (3 lines). If you noted the circle (1 line) then the faceup card would be the cross (2 lines). If the 3 wavy lines showed the face-up card would be the square (4 lines). If the star design is seen, then the reversed card would be the circle, and so on. This is a very simple system as you will see when you try it out.

As soon as you have the necessary information, hand the box to the spectator who will hold it as you have indicated. Actually, at this point all the dirty work is done. The rest is strictly for effect. Pretend to gaze through the spectator's hands. Pick up the 3x5 card and duplicate the design which you now know to be reversed in the packet. Fold this and place in FULL VIEW. Have the spectator open the box and remove the pa "ket of cards. Now have him spread the packet and remove the card which he pro.viouslv turned face-up. Now all that remains is to have the spectator compare this design with the one which you drew-cm the 3 x 5 file card. Naturally they match.

Ed Mellon Presents

THOMPSON'S THIRD EYE (J.G. Thompson, Jr., with an assist by Dr. Jaks)

For years the proper use of the window envelope principle has resulted in a very satisfactory method for single message reading. Very little has been done over the years in the way of improvement but that is no longer true, for coming up is a description of,a new type of gimmicked envelope that adds much to the effectiveness of this type of presentation.

A supply of 4% x 2%" manila pay envelopes are gimmicked by cutting a x 3k" window in the face side. Cut from the face of another is a piece measuring approximately 3-3/16" x 2-7/16". This is inserted in the window envelope and pushed down as far as possible. The flap of the envelope is stuffed inside, so that it lies over the edge of the dividing slip. Put a 4-1/8" x 2-1/8" card in the envelope and you are in business.

To present, hold the envelope flap side up from above with the left fingers on one of the long sides and the thumb on the other. Squeeze the edges toward each other and the mouth of the envelope will open. ~iin* this toward the spectator, so that he gets a good look at th. interior of the envelope and ask him to withdraw a card. Everything seems completely normal and unprepared, but, please make no mention of this. The window will be below his line of vision and should cause you no concern.

Tell the spectator to write the data (his choice) on the card. As he is doing-thi^, pull the -flap out. Again everything looks fair because the upper edge of the partition is not visible.

When spectator has completed his writing, take the card from him writing side down, and slide it into the envelope underneath the partition this time. No trickery will be suspected at this point, for the end of the card is always in view.

Two procedures are possible. If you want to inject a light note, pick up the envelope, turning the face side toward you, and hold the flap up to the spectator's lips. Say, "You lick it. I have a weak stomach." During this byplay and the next moment or two, there will be ample time to read the written data. Press the flap down by holding the envelope, still flap side toward the spectator, and running your fingers over it. Then lay the envelope face down on the table.

On the other hand, if you want to play it straight, simply lay the envelope on the table, wet the flap with your fingers, pick up the envelope and press the flap as described above, getting the needed information at that time.

In any event, the envelope finally should be laid flap side up on the table in order to bring into play a very lovely move originated by Dr. Jaks which puts the last touch of perfection on this sealed message reading method. As a reason for laying the envelope down on the flat surface, scrawl some mark of identification on it. The place the tips of your left, fingers on one end of the envelope and your thumb on the other. Press down hard, at the same time moving the thumb and fingers toward each other. Wher they meet, the envelope will be folded in half. Continue pushing with the thumb against the two halves in a direction between the fore and middle fingers. This will result in the envelope being folded roughly into quarters. Place this small bundle in one of the spectator's hands and close his fingers over it. This entire series of moves is done rapidly - almost as ~ single maneuver - and is very disarming.

After you have revealed the written data, it is possible to take the envelope, open it and withdraw the card, crumpling the envelope and placing it in your pocket. But that seems to be unnecessary. Simply get a confirmation, take the folded envelope and drop it in your pocket you go to something else.

THE PHANTOM PICTIONAF" Harry C. Bjorklund

Effect: The spectator looks through an ordinär/ pocket dictionary, selects any page and remembers a word or two thereon. The performer seals the book in an unprepared envelope ana while spectator is holding envelope and book, he slowly names the selected words. HERE ARE SOME OF THE FEATURES:

1. You use no outside props. No assistants. Only one envelope and one are used.

2. There is no duplication of pages or words, spectator has absolutely free choice as to what page shall be used.

3. There is no attempt made to open the book on your part, before it is placed in the envelope. Knowledge of the selected words are gained in a subtle manner while all eyes are upon you.

Method: The secret of the effect lies in the dictionary which is gimmickeci in a simple manner. A hole is punched through the pages of the book and -a loop of string inserted. There are two knots in the loop of string located at the outside of the front and back cover with just enough string between the knots to allow the book to be opened flat.

After a page has been selected and the book closed, a small portion of the string loop will remain wedged between the pages at the point where the book was last opened. This caused a slight cr.imp in the pages noticeable at the top end of the book. The envelope is of the type that has a flap at one end and is just large enough to accommodate the dictionary.

TO WORK, hand a spectator the book and ask that he select any page with an odd number. Hesitate and, as an afterthought, say - "Perhaps you would rather use a page with an even number?1'" Whatever choice the spectator signifies, you request that ha select a page and memorize the first and last words defined thereon, (The first word of the page is at the top si thtr first column and the last word is at the bottom of the aecou„ column. ALL^ NOTICE—that BOTH OF THESE WORDS ARE AT THE VERY TOP OF THE PAGE for your PEEK.)

Now pick up the envelope and hold with the gummed side of the flap uppermost. You must recall at this point the choice of odd or even pages made by the assisting spectator. If the even pages ware selected you insert the book in the envelope with back cover uppermost. If the choice of odd pages were made, the book is held in the normal manner with front cover upper-, most and in that position is placed in the envelope. Hold the envelope containing book in the left hand with one edge of the envelope in the crotch of the thumb while the fingers press against the opposite edge. (SEE SKETCH). Now squeeze envelope and book between fingers and thumb so that a bridge or gap will be formed in the pages of the book. The two words at the very top of the page, where gap is formed, are those selected by the spectator and will be clearly visible and easily read as you peek while sealing the flap of the envelope.

SELECTED WORDS VISI& LE HERE

Sug^ftti<«i^_^-ortibbex-J>amLr_if- it-fit^—rather- loosely, may be placed around dictionary after it has been closed. In this manner_Jthe-book can be handed to several spectators who each select a word (LAST WORD ON ANY PAGE ONLY). The performer obtains a peek at each word in the act of taking the book from one spectator to another. These words are memorized for a startling climax to this effect.

AN EASY WAY to open book is to insert one finger in the break or gap, formed by loop of string, while you are inserting the book into the envelope. Then squeeze book to hold open for your peek at the word or words.

PARA-MENTAL Ken Allen Products

A. red backed card is selected by the performer and sealed in a blank envelope and clipped to the stand illustrated. Three blue backed cards are selected by a spectator and each sealed in a numbered envelope and clipped to the stand. Spectator selects one of the numbered envelopes which is removed from the stand and the card removed. The card which the magician selected is removed from the blank envelope. BOTH CARDS MATCH, a chance in a million. The c ards in the other two envelopes are removed to prove they are different. A real perplexing effect!

Props you Receive: Four clothes pin type clips, three sets of envelopes —each set consists of one blank envelope... one envelope with a number 1 printed on it...one with a number 2 and one with a number 3. Four red backed cards of the same suit and number, and four blue backed cards of a different suit and number than the red backed cards. Magician's wax.

Assembly: Note the order of the. washers, nuts and wing nut on the bolt. Take all the items off the bolt and lay them on the table. Put the smallest washer on the bolt first. Push the bolt thru the. hole in the black plastic square going from front to back (naturally the side with the white plastic "X" on it is the front). Put on the rest of the washers. Screw one of the nuts on the bolt, right up to the washers. Now unscrew it one half turn. Screw the next nut on the bolt right up to the first nut. Push the bolt through the hole in the plastic stand. Screw the wing nut onto the bolt (fairly tight). If this complete operation is done correctly, the black square will be just loose enough to revolve on the bolt. If it is too loose it will wobble. When you lift the "Para-Mental" always do so lifting it by the base — DO NOT lift it by grasping the square.

Effect: A card is selected from a red backed deck by the magician —- the audience does not know what card is selected. This card is put into the blank envelope and clipped in the center of the top edge of the black square. A blue backed deck is given to a spectator with a request that he look at the cards and then shuffle the pack face down. With the deck face down he selects a card—DOES NOT LOOK AT IT and puts it in the envelope with the number 1 printed on it. The black square is given a quarter turn to the right, and th*3 No. 1 envelope is clipped to the top of the square. Another card is selected by the spectator WHICH HE DOES NOT SEE and this is put in the envelope with the No. 2. This envelope is also clipped to the square. A third card is selected and inserted in the envelope with the number 3 on it—this envelope is also clipped to the stand (spectator does not see this card either).

Someone is asked to choose one of the numbered envelopes—it is removed from the stand, card taken out and clipped back on the stand face towards the audience. Someone is then asked to choose another of the numbered envelopes— the chosen envelope is removed and the card taken from the envelope—shown to the audience and clipped to the square face out also. The two envelopes that were just used are placed on the base of the stand.

Performer removes the blank envelope and hands it to a spectator with the request that he remove the card it contains (remember this is a red backed card from a red backed deck). Performer removes the remaining envelope from the stand and removes the card it contains. The card is clipped back on the square back out. The spectator is asked to call the name of the card he has removed from the envelope. At the same time the magician turns the card around that he just clipped to the square—The magician's and spectator's cards match.

Set Up: Let's assume that a blue backed deck will be given to the spectator as in the above routine. Take three duplicate blue backed cards, buckle them a little the long way, and insert one each in the three sections (directly centered at the "V" cut) on the back of the square. The top edge of the cards should be just below the back edge of the plastic square. The backs of the cards should be against the plastic. If you could see through the black plastic from the front of the stand, you would see the backs of the cards.) Turn the square, so the three cards are at the right, the left and the bottom of the square. The top of the square is left empty.

We will.now assume that the three blue backed cards that are in the square are the 3-Hs. Fan a red backed deck with the faces towards you. Remove the 3-Hs from that deck and put it in the blank envelope with the back of the card towards the audience.

(Each one of the clothes pin clips should have some magician's wax on the inside back jaw of the clip). The front of the clip has the rhine-stones. Clip this blank envelope to the top section of the square (there Is no card in the back of the top section.)

Hand a blue backed deck to the spectator which he examines and mixes— (Make sure the 3-Hs has already been removed from the deck). With the cards face down, have him remove a card WITHOUT LOOKING AT IT. This card is put in the numbered envelope 1, with the back of the card facing the front of the envelope (all the cards are always put in the envelopes the same way). The number on the envelope, faces the audience. Turn the square one quarter turn to the right. Put the numbered envelope against the plastic square-—the top edge of the envelope even with the top edge of the plastic. The envelopes are clipped directly in front of the cards that, are hidden in the stand. As ycu clip the envelope to the square, you will also be putting the clip over the card concealed behind the square. As the clip closes on the card, give it an extra squeeze just to make sure the wax adheres to the card.

Repeat the same thing with the second and third envelopes and second and third selected-cards» -At this poiirt--the audience sees four envelopes clipped to the square. Have some spectator call out the number of one of the envelopes. Let's say he chose envelope No, 2. Grasp the envelope at the bottom (DO NOT TOUCH THE CLIP)-—when the number is chosen, turn the square so that envelope is at the top position) and pull straight down. The clip will stay where it is, and the envelope will be in your fingers. Open the envelope and remove the card. Show the card and press open the clip it was just removed from (do not remove the clip) and clip the card to the sauare with the face of the card facing out. Have another numbered envelope chosen, and go through the same procedure. The reason you are showing the cards is just to prove that they are different.

Twc envelopes are now left on the square (if you have more than that you goofed). One is numbered and has a blue backed card insides which was chosen by the spectator. The other envelope is holding a red backed card and was chosen by the rragician. Turn the square so the blank envelope is at the top position. Grasp the envelope at the bottom, with your fingers behind the envelope and your thumb in front'—-PUSH the envelope up (straight up) away from the square, and the clip will stay with it and still be clipped to the envelope. Magician removes the clip and hands the envelope to the spectator. Turn the square so the remaining envelope is now at the top position. Hold this envelope in the same manner -is the one you just removed. PUSH the envelope up and away from the stand—due to the. wax on back of the clip which is against the card concealed in the square, the clip will pull the card out of the square ana keep it clipped securely behind the envelope. Hold the envelope in your left hand with your fingers in front and your thumb in back— which holds the card behind the envelope. The envelope should be held at the left side. Reirrve the clip with your right hand—as you open the jaws of the clip, tip it towards you and up—Put the clip on the base of the stand. The envelope should be held directly in front of your body. With your right hand open envelope by putting two or three fingers in it—your thumb goes behind the envelope and rests on the card. Holding your left hand still, raise the card up from behind the envelope x-.Tith your thumb, letting your fingers slide up from the inside of the envelope— iust ignore the card that is in there. To the audience, it looks as if you are removing the card from the envelope. Drop the envelope on the table. Name the card you are holding, and have the spectator do the same thing—both cards match.

Make sure the cards do not slip out of or down into the square by buckling them a bit.

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