Card Combination

JO find something really away from every-day card effects is becoming a rather difficult task, when each one must be practical.

Here is a little combination of two effects which, when separated, are so quickly terminated that they are lost on an audience, or just to be shown to a couple of friends. In combination, however, they make a good comedy effect.

The first part of the effect is a colour change or card change that Stanley Collins showed to me many years ago, during the first World War. At that time he was with the Fourth Army Headquarters, and Stanley was assisting Capt. Elliott and Nat. D. Ayer to produce a Revue.

The other portion of the effect is based on Houdini's Torn Card experiment, described by T. Nelson Downs in "The Art of Magic."

THE STANLEY COLLINS CHANGE

The part played by the left hand is to lift the first card away from the right hand while making a natural move. The fingers of the left hand tap the front and the back of the card that is being shown, the performer making some such remark as—"Your card, sir? No? I thought it was! (the Snap Change is now made) Ah, that's it" On the last expression the right hand snaps the card away for the change and the left hand takes it away on the back of the pack as shown in Figure 20. So much for the change.

For the card change the double lift is employed, two cards being shown as one, when suddenly the wrong card appears as the right one.

Hold the two cards as one in the following way:-- The right hand first and second fingers hold the two cards by the left-hand bottom quarter, on the face of the outer card which faces the audience. The right thumb is at the back, pressing slightly in the hollow between these two fingers. The third and fourth fingers of the right hand rest on the back of the rear card, assisting in holding the two cards as one. The remainder of the pack is face down in the left hand. Figure 17 shows the audience view, and figure 18 shows the rear view.

Hold the right hand with the fingers upwards and the card facing the audience, as shown in fig. 17. The second and third fingers snap the front card back to a horizontal position, leaving the selected card facing audience. See figure 19, which shows the back view. This is a sort of "finger snapping" movement, and will soon be grasped after a few minutes practice.

HOUDINI'S TORN CARD TRICK

This trick depends solely on the ability to perform the two-handed pass.

Here is the effect as I do it. A selected card has the top right-hand quarter torn from it; the card is initialled, yet while being held between the outstretched palms of the assistant it changes to another card, which just goes to prove that "seeing is not always believing."

The only preparation is to tear the right-hand top quarter from a card, place the quarter under the card and this mutilated card in the middle of the pack.

A card is selected and the right-hand top quarter is torn away. The card is placed on top of the pack for a moment, "So that it may be initialled". The torn quarter is placed under the mutilated card as it is placed on top of the pack. The right hand takes a pencil from the pocket and the assistant initials the top card—he thinks he initials the selected card, but the performer has made the pass before getting the pencil, bringing the previously mutilated card from the centre of the pack to the top.

The top card and corner are given to the assistant and he is asked to hold the pieces in his hands. "Of course, you would know your own card?" "Yes". "The nine of diamonds?" "Just fit the corner to the card and hold it up so that all may see it—and having seen it they don't believe it". Of course, the card proves to be anything but the nine of diamonds — or whatever the selected card was.

THE COMBINATION

Combine the two effects like this:— Tear the right-hand top corner from the top card of the pack and tuck it underneath the card.

Have a card selected from the middle of the pack and then replaced. Make the pass, which brings the selected card to the top and the secretly torn card to the centre. Announce that you will cause the selected card to come to the top of the

GRAHAM ADAMS' CARD WORKS - Continued pack. Double lift the top two cards and, holding them as one in the manner described for the Stanley Collins Change, announce that this is the selected card. "Your card, sir? No? I thought it was! (make the snap change) Ah, that's it."

Take the card after the change, tear the quarter from it, tucking the corner under the card and placing it back on top of the pack "for initialling". Make the pass, bringing the secretly torn card to the top, have it initialled and then hand it to the spectator, together with the torn quarter, for holding between his hands. Now finish the routine as described above, and there you are.

To locate the torn card for the pass, just riffle the cards with the right fingers and the torn card will act as a short card and stop the run. Insert the little finger and you are ready for the pass.

(To be continued).

I^HE "Linking Ring", always so perfect in presentation, certainly boobed in the June issue! Elizabeth Warlock instead of Elizabeth Hammond was shown on the cover as one who was making the Chicago trip, whilst inside an all too familiar photograph of Slydini was captioned with 'George Jayson (Jason)'. The same issue also brought a Magi-ministers 'Parade', consisting in the main of standard tricks, the accompanying patter involving the Trinity'. Now perhaps I'm a strange guy for to me there is nothing but profanity when a priest takes the holiest of words and allies them with the mediocre rubbish that some are prepared to call magic, and I cannot believe that in any country that acknowledges Christianity it is necessary for magic to be presented in the pulpit or its equivalent. True it would seem that many of these American Magiministers are strongly slanted towards evangelism, and perhaps because I read "Elmer Gantry" when young, I'm biassed against these jingoistic peddlers of spiritual emotions. In this particular compilation, the greatest profanity is a posed photograph of one of their number caught in the midst of a linking ring routine, a painting of Christ visible in the background.

I have, in my time in these islands, met many many priests who have found in magic a great hobby, which has given great pleasure not only to themselves but also to those who at their entertain ments, have formed their audience. All of these men with faith in themselves would never need or think of bringing into their strict teaching of Christianity the wherewithal of conjuring.

The British group who visited Chicago certainly seemed to have had a first-class time and Alex Elmsley is fortunate enough to extend his stay until September. Corinda reports excellent business. Francis White, as usual, proved the ideal compère for the International show and besides this acted as an excellent ambassador for magicians in this country.

We are always amazed when a magician with a big collection of tricks tells us how many he has accumulated. Only the other day Travis Wills was telling us that his collection of tricks alone touches the eight-hundred mark. This, as he puts it. simply represents buying twenty tricks a year for some forty years and never disposing of any of them. Besides this he has a collection of some two-thousand one-hundred and thirty books and magazines. Whilst we might well touch the book and magazine number the tricks we've bought during our magical lifetime of some forty-odd years wouldn't touch the fifty mark and yet we always seem to be looking for storage room.

It was very nice to hear from George Johnson He dropped us a line regarding the cigarette packet

MAGIC GO ROUND (Continued)

to flowers item that we published a little while back. His note was to tell us that George Munro in the pre-First World War years used to sell a matchbox to flower effect. Though the effect was simply achieved it would not be possible to make it up with the spring flowers marketed to-day, as they are far too large for the purpose. About a dozen silk spring flowers were fastened by their strings to one end of a match-box drawer. With the flowers held the drawer was pushed into the cover of the box about a quarter of its length, the flowers taking up the remaining three-quarters space left inside the cover. The drawer was filled with matches and the box placed on the performer's table. The performer took the box with his left hand, then extracting a match with his right. The match was struck and, say, a cigarette lit. Now with the actual closing of the box, i.e. pushing the drawer into alignment with the cover, the spring flowers automatically expanded completely covering the box. George Johnson suggests that a small pointed hook be affixed to the outside of the box, so that when the flowers had expanded the resultant display of flowers could be fastened to the performer's button-hole.

We hope that you like the silken loops idea in this issue. You'll have the chance to see it in action at Buxton, where we shall be lecturing. We shall also be including a few other silken ideas that should prove novel to British Ringers.

The 'Silkboy' which we advertised a little while back seems to have proved its popularity. Certainly we have found it most useful and by using only a very slightly larger model find it the best trouble-free vanish for three eighteen-inch silks. You'll see this too at Buxton.

June proved an interesting month. Kio was at Wembley and there was the Magic Circle Reception for him on the 28th. A delightful evening in which we had the pleasure of meeting Jac Olton again, and Celeste Evans for the first time. As we shall be travelling westwards on Saturday, July 18th, it looks as though we'll meet her T.V. spot. There was the Shoreditch Town Hall Circle show which provided a true Festival of Magic.

Percy Press seems very busy these days, and apart from countless engagements for magic and Punch work he is currently taking part in the shooting of a film, which at the moment has the title, 'Every Night Something Awful'. A skit on an ENSA wartime show, it includes such well-known personalities as Dora Bryan, Alfred Marks and Dick Bentley- Besides giving technical advice, for in the film there is a conjurer played by Reginald Beckwith, Percy has a nice spot where he does a Galli Galli act.

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