R E Longstaff

I have recently made a mock-up of a production piece which has possibilities I think, if developed along the right lines. In case you are interested I enclose rough drawings of the design. It was originally described in the 1910 Magician's Annual, and this modified version is entirely new. Lest by the above you imagine me to be a greybeard. let me assure you it was given to me by my brother-in-law.

The 'canvas' I use is a wooden frame 12" x 9" which is covered with good quality cartridge pi an or lbo.

SHOW IN û CHANNELS.

CHANNELS' BETWÉFN CENTRES, Si DIAMETER?

The drawing is sketched in with black copy pencil. The right hand puts the pencil in the top pocket, smashes through the drawing and withdraws the load.

The front of the production box is merely two strong threads to contain the item, and these burst easily to pressure, releasing the load for withdrawal. Inside of the box is painted white to match the paper.

I finish off the effect, by standing slightly in front of the apparatus to remove the 'canvas'

SHOW IN û CHANNELS.

CHANNELS' BETWÉFN CENTRES, Si DIAMETER?

A. Canvasses pushed down f 8) takinc box with them. BOTTOM CANVAS PUSHES SOX into base (s).sude camvas out & p/spiay\

paper, on the top of which is sketched in light pencil, a rabbit.

Both frames are leaning against front of the stand at the opening of the effect. Top one is lifted, shown back and front and stood on the easel by means of two panel pins.

Second frame now covers the bottom of the base and to within one inch of bottom of the first frame.

To steady the easel performer places his hand on top, fingers at the rear, and pushes the weight gently down. Timing is important, the bottom frame being lifted slowly to cover the gap as the load rises and when the load is behind the top frame, lifted clear and reversed. It works quite smoothly.

SLIDING THUMB,—(Continued).

running penetration, a la the sliding safety pin effect.

The right hand immediately takes one corner of the hanky, the left hand the other and showing the handkerchief both sides it can be placed in the top outer pocket, getting rid of the thumb tip at the same time.

A. Canvasses pushed down f 8) takinc box with them. BOTTOM CANVAS PUSHES SOX into base (s).sude camvas out & p/spiay\

which is lowered in front of the stand, fingers behind both as one, pushing the box back into the base, canvasses turning over to lay horizontally on top of the base at the finish. Canvasses can then be shown again and it never fails to win applause.

So far I have only produced spring flowers but even this makes a surprising and pretty production.

My suggested production would make use of one of your "Reggie Rabbit" items ,and crayon drawing, and could be adapted for adult or children's audiences.

Effect:—The performer enters the stage on which is displayed a plain drawing easel. He picks up from the front one of two canvasses, shows it back and front, then places it on easel. He picks up the other shows it back and front and places it on top of the first one. He draws a rough outline of a rabbit, breaks paper and taken from centre of the drawing, "Reggie".

Working : Exactly as per enclosed diagram. Counterbalance weights lift the load from the base to production position easily and surely . It makes a splendid opener although mine is small for intimate rather than stage work.

I had in mind a chrome stand, wood base and chrome fittings for stage work. Shall be pleased to hear what you think about it.

FOREIGN EXCHANGE"

Transposition effects with money have for long been popular with magicians and laymen alike. There have been many different applications given to the idea which was born, perhaps, far back in the earl er centuries.

Whatever the involved procedure and however colourful the different presentations may be made to seem, the ultimate result amounts to the same thing. Two coins of different denominations exchange places whether from inside the bare fists, under a handkerchief or from a piece of either an organised or makeshift bit of equipment.

The trick when originally put into circulation required the use of authentic coins of the realm but later in an attempt at simplification a special gimmick was introduced into the routine. The advantage derived in consequence being that the same coin could be presented differently depending on the side brought to view, such as gold on one side and silver on the other or alternatively, silver and copper

Now a proven axiom which is equally applicable to Mag e as to any other science is that in an endeavour to strengthen one element of an effect we are liable to weaken another. Consequently the gimmicked coin although a decided advantage in some respects, acts conversely in others. For instance by its use, to begin with, two coins of identical dimension must be employed which as a necessity limits its latitude.

In my present endeavour 1 propose describing my personal treatment of this age old effect in the hope that it will merit the active interest of some of the readers. As you will see. the performer may use any two coins.

In my own presentation I invariably utilise two coins from different countries and the title of "FOREIGN EXCHANGE" aptly becomes the theme of the patter.

The illustrations supporting this writing show the two coins as a shilling piece and a penny.

These may be substituted for others according to the fancy of the individual and the country he lives in.

THE PRESENTATION.—Although you appear to be using just the two coins say a penny and a shilling you employ a third secretly. This third coin should be the duplicate of either. For purpose of our explanation we shall suppose that you decide to use a shilling and a penny as well as an additional shilling.

You start by asking for the loan of a shilling and a penny or use your own. You will also be needing a long envelope about 9 inches by 4 inches. The extra shilling is first slid into the opening of the envelope and pushed down sufficiently out of view. The flap is next folded back in position.

When the two coins are offered, drop them on the table and at the same time be sure that they can see you have nothing concealed in your hands.

The envelope is picked up in the left hand, while the index finger of the right pushes open the flap. Fig. 1 shows this action in process. Particularly note the position of the left thumb. The

hidden shilling is directly under the thumb although inside the envelope and by pressure it is prevented from slipping out into view.

The right finger tips are then placed alongside the left thumb. In this way the envelope is pulled away from the left and then the right hand is turned over palm up. which action forces the hidden shilling out and into your hand. See Fig. 2. The ostensible purpose of this gesture is to offer the envelope to some nearby spectator on your right.

There is no reason at all for anyone to suspect that you have a third coin hidden in your hand. While the envelope is being scrutinised, approach the shilling on the table with your left and the penny with the right hand. Pick one in each hand and then turn over the palm of both outwards. However, while the hands are being turned over to bring the palm side to view, slide the penny OVER the hidden shilling with the thumb and by the time

you have completed the turn, all that can be seen in the right hand will be the penny. The shilling should be well covered. The illustration in Fig. 3 is deliberately arranged to give a clearer idea of how the penny is made to gently mount the shilling. Part of the shilling is left visible on purpose but in actual practice, by the time the front of the hand is turned towards the spectators and is brought to the position shown in our illustration only the penny should be visible.

At this point the envelope is still with the spectator. The visible shilling in the left hand is now dropped over the penny in the right. In continuation of the same action, stretch out the left hand and take the envelope away. As the left is receiving the envelope bend in the right thumb and flick the uppermost shilling and the penny together on to the table.

Fig. 4 shows how this is being done. The extra shilling is still retained behind the fingers. The envelope is forthwith passed to the right hand but before accepting it, the thumb of this hand pulls back the outer edge of the coin for clearance so that the envelope could be slid between it and the fingers. The shilling is then pushed into position shown in Fig. 5 and then allowed to sink into the envelope a little way. The left thumb

Fig. 4 shows how this is being done. The extra shilling is still retained behind the fingers. The envelope is forthwith passed to the right hand but before accepting it, the thumb of this hand pulls back the outer edge of the coin for clearance so that the envelope could be slid between it and the fingers. The shilling is then pushed into position shown in Fig. 5 and then allowed to sink into the envelope a little way. The left thumb

meanwhile presses on it from the outside to prevent it from descending further than is necessary.

Leaving the envelope in the left hand, the right picks up the penny from the table between the thumb and first finger and with it moves towards the envelope with the seeming intention of dropping it in. Now follows a very convincing procedure to satisfy even the most dubious character that you have done nothing different.

When the penny is momentarily hidden behind the envelope, the left thumb presses against it and frees the shilling instead which in turn drops to the bottom. The sound of the impact becomes one of the potent contributory factors at misdirection.

The right now folds down the flap OVER the penny shutting it from view. The left next turns the envelope bringing the flap side towards the spectators and then- strikes against a tumbler as further proof that the penny is inside. Fig. 6 will make this stage of the proceedings clear. This illustration shows how the penny is concealed under the flap.

Once again the address side is brought to the front and the gum edge of flap moistened. As this is being done, the left hand slides down, taking the penny with it. Fig. 7 depicts progression of the trick to this point.

The envelope is now folded up four times and Fig. 8 illustrates the starting stage of this first fold. Fig. 9 will show you that there are now THREE separate channels formed as a result of this folding and the penny can be seen in the middle of it all.

The shilling is now picked up from the table and slowly pushed into the topmost channel from your end of the packet. Grip the near end of the packet between thumb and finger tips of the right and rock it up and down. However, as you do this maintain pressure on the penny to prevent it from sliding out. This rocking action will cause the shilling to pass right through the upper channel and suddenly fly out of the opposite end on to the table.

This is a further means of indirectly proving a clear passage and hence there could be nothing hidden in the folds of the packet. The manner in which the folded packet is rocked is shown in Fig. 10.

You now proceed to repeat the previous action but this time push the shilling from your end into the MIDDLE channel where the penny is already concealed. As the shilling is pushed in the penny is moved forward. Now grip the packet again as in Fig. 10 and maintain pressure on the shilling from outside. Rock the packet as before and this time the penny will fly out instead of the shilling they had expected.

The penny is picked up in the left and retained by the extreme tips of thumb and index finger. The right hand now strikes it with the edge of the packet, so that the shilling which is already inside, will sound against the penny. See Fig. 11. However, as the packet is raised for each strike it becomes a natural thing to allow the extra shilling to slide out wherever you wish into the hand. The shilling in fact falls into the palm position without any additional effort and once this is done the palm can be brought directly in front of the spectators without the presence of the coin being detected. Of course, the fingers must be maintained in a natural bent position.

Having taken secret possession of the shilling, drop the packet on the table and invite a spectator to ascertain whether there is any means of extracting the content of the envelope without first opening it in the normal way. Naturally his reply will be in the negative. Ask him to open the envelope and see what he finds inside. He brings out the shilling. As the shilling is dropped on the table, pass the penny from the left to the right hand and pick the shilling up in the former. As before, the penny is again slid over the shilling, see Fig. 12, to cover it and all the spectators will ever see at the end will be the two original coins ... the PENNY and the SHILLING.

JUST OUT ! ! ! Reflecting all the Best in Magic Today

New VAMPIRE MIRROR No. 3

FULL OF NEW TRICKS, BOOKS & NOVELTIES.

The SodHhi Gairdl a- church

Take six visiting cards and shorten five of them slightly with a razor blade. Also needed is an old date stamp from 1950-54. and a stamp pad feked as shown:—

Presentation,—Ask for any date between 1950 and '54 and turn to it on the date stamp. Bring the stamp down on the pad (not on the paper), look at the stamp, then bring down on the pad again (a natural action if the pad is a little dry). Put date on a short card. Repeat with the four other shorts. Finally ask someone to turn the stamp to any date which perhaps has some personal connection. Take it back in such a way that you obviously cannot see the date . Bring it down on the pad, then again, but on the blank paper. Glimpse date on the blank paper as you hand out stamp for spectator to stamp last card (long one).

Have cards collected, and put them behind your back. Cut long to bottom and announce that you will try to discard all but the sixth card.

Quickly throw first five cards onto table. Before bringing out the sixth card ask person to concentrate on the date they chose. After a moment's hesitation announce the date and toss out card for checking.

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