The picture at the front is lowered and the recess shown to be empty. The silks are pushed into it from the top, the turn catch having been pushed aside. The large panel is then closed and as it is being fastened the free hand is apparently steadying the apparatus. In actual fact it presses on the projecting wire loop and the box will automatically reverse itseif. If you intend to use the prop for cards oniy, there is no need for the facings of perspex, providing, of course, that the cards are about the same size as che box and will not fall forward or backward through the opening.

Stick to the sizes I have given in the sketch, but, if you must enlarge or reduce them, at least stick to the proportions and you wil not have any angle problems. As I have said, it is strictly for the dressy type of show. It is a very happy little thing to work and it is a grand feeling just to press a button and leave everything else to the apparatus. Why not try it sometime?


Continued from Page 333.

The queen is on the performer's feft; he turns it face downwards using the ace in his hand ro do this (genuine turnover).

The eight of clubs is then turned face down with the Mexican Turnover. This leaves the ace face down on the table and the eight in the performer's hand THE BACK OF THIS CARD MUST BE KEPT TOWARDS THE AUDIENCE BY TURNING THE WRIST INWARD AS THE TURNOVER IS MADE.

The finger and thumb are now transferred to rhe opposite bottom corner of the eight held in the hand. The card is then "waved" over each card in turn (still of course he'd back uppermost). The queen on the left is turned face up (Mexican Turnover, Figs. 1, 2, 3 and 4) leaving the eight of clubs face upwards on the table.. The move is repeated with the right hand card (ace) leaving the queen face up in its place and the transposition is complete.

"Out of This World"« Again by DAVORKE

In the January (Vol. 2 No. 10) edition of this magazine, George Blake described an excellent routine for Paul Curry's "Out of this World", which is always in my repertoire of close-up card magic, and to those of you who do not work this 'miracle' effect, I strongly advise you to try it out, and watch the amazed faces of your audience. After that I think that you will study twice before leaving it our of any close-up performance.

Below is another method of covering up the snags that George Blake so rightly pointed out, with, I think, not quite such an obvious stacking of the pack.

After finishing your previous effect you announce that your pack of cards has a mania for orderliness and refuses to remain mixed, i tell the story of how I train all my cards individually to be ridy. To prove it, take several cards from the face up pack in your left hand, then turning your right hand, you remove some more face up and then more face down, until you have transferred the whole pack to your right hand alternately face up and face down. To the audience you have créa red the illusion that the pack is thoroughly mixed up, but in reality, all the face-up cards are together and all the face-down cards are together, so that a simple cut and the pack is all one way. As you remove each batch of cards from the original pack you keep all the red cards in rhe face down pile and all the black cards in the face up pile; the turning of the right hand looks normal and seems to be aiding in the disarrangement of the cards. Actually it causes all the black cards to face one way and all the red cards to face rhe other. While squaring the pack in your right hand, riffle them with your thumb and see where the division is. As you place them on the tab'e, cut the pack at the dividing point, bringing all the cards facing the same direction. You then repeat your favourite magic formula and spreading the pack on the table it will be seen that all the cards are the same way up. You can then go ahead with "Out of this World" as the pack is all set up.

This method of stacking the pack only takes a few moments to do, and being in itself an effect, dispels any idea of connection between this and "Out of this World" that your aud'ence may have.

Now for the second snag George Blaka pointed out, i.e. masking the sleight needed to transpose the markers in one heap.

To do rhis, I carry on with the effect until I have the two columns, each with its two markers, as laid out by the helper. I then divide these into four piles, with a marker and its piTe of 'indifferent' cards in each. I then pick up the pile of red cards from the black marker and the black pile from the red marker and place them into my left hand, keeping them separated by one of my fingers. Wi th the right hand, I pick up one of the two remaining piles and immediately turn it face up, to show that all the cards match the marker The last pile is turned face up and then the two piles in the left hand placed face up with the red piles on the red marker and the black pile on the b.'ack marker; thus changing the piles over in an innocent way. This may seem a rather obvious change in print, but try it out and see how easily ir fools your audience.

(NOTE.—I like very much Davorke's method of turning up the four piles at the conclusion of the effect, and I recommend you to try both his method and the one I outlined in the January issue. Indeed you could use one as an alternative method to the other, switching over as you fancy. Davorke's reference to a "not quite such an obvious stacking of the pack" calls to my mind the fear which some conjurers have of doing something 'out in the open', something which they (the conjurers) KNOW to be a ruse, entirely forgetting that to the audience the move is quite natural and not suspect. In the routine outlined by me you TELL the audience that you are about ro set the pack as you think the spectator will deal it later on, and I can assure you in all sincerity that, in the hundreds of times i have performed the effect, that ruse has never been suspected. Indeed, in that setting of the pack, therein lies, to the spectator, the true mystery of the effect. "How on earth", they reason, "could one possibly set a pack so that such a haphazard- deaf would bring all the suits to their proper markers?" Anyway, try out the effect and judge for yourselves). George Blake.

lEMZ' "Mew

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