Cpiague ta SAoifi

Editor's Note

Recently as many of you know, that excellent close-up performer came over from Holland for a few days. On the evening of his arrival he came along to our friend Francis Haxton's house, and in company with Francis, Gus Southall and Eric de la Mare, we spent many hours ivatching Hans go through a number of routines. Of the effects that he performed that evening tivo stand out in my mind. The first is the version of the Hindu Thread trick that he performed, zuhilst the second is the effect to be described. It is delightfully natural and impromptu magic that need no gimmicks; only assured presentation. From now on we'll let Hans take over.

The effect of this trick is not new and as most readers of the Pentagram will know it is well described under the title of the " Ring of Thoth," by Nelson Hahne in "My Best." Though' I used his method for many years I was dissatisfied because in borrowing a ring at random, I could not be certain thaf it would match the duplicate that I should use. I therefore set out with the idea of obtaining the effec' and at the same time using no duplicate. The idea was consummated and the effect I now use and which I am describing for the first Hme here is the result.

This is the effect as the audience see it.

The magician borrows a ring and also if possible a silk handkerchief. If the latter is not forthcoming the performer uses one of his own handkerchiefs. The silk is pulled throueh the left hand so that i4s two ends hang rope fashion downwards from the fist. The ring is now placed between the first and second fingers near fhe knuckles and is visibly pushed into the fist. The left hand is now opened and it is seen that the ring has penetrated the silk and encircles it in the centre.

Now I want vou to follow me with a ring and silk in your hands.

First of all the ring is placed on a table and the silk is taken by the right hand and pulled through the left hand once or twice. Finally it is left in the left fist with the ends hanging down.

The back of the left hand should now be parallel with the ceiling. The ring is now taken by the right hand and placed between the first and second-fingers of the left hand near the knuckles. You now explain that you will push the ring into the fist and it will pass through the silk and become threaded upon it. As you say this the ring is actually pushed into the fist. Seemingly as an afterthought you remark, " Well, perhaps it will be as well to see if the ring is not too small to pass over the handkerchief." You now open the left hand and the ring is seen to be lying on top of the silk.

You now take the ring with the right hand again and visibly thread it on to the silk. You pull it down to the centre and appear to be satisfied for there is no doubt that the ring can encompass the thickest part of the handkerchief. At this moment the left hand turns downward so that the thumb and first finger seize the silk about an inch above the ring (see illustration). The spectators are given the chance of seeing that nothing is concealed in the left hand. The performer, who at this point has been facing left, now appireniy takes the ring with his right hand fingers and pulls it downwards off the silk. At the same time he turns right. Actually he only simulates the removing of the ring, the turn of the body allowing the left hand fingers to screen the ring which remains on the silk. The right hand moves away as though it is holding the ring. This action must be practised so that it really looks as though the ring were being removed.

The right hand now apparently places the ring between the first and second fingers of the left hand, but actually under cover of the right hand, the left hind thumb pushes the ring up so that it appears between these two fingers. The illusion is perfect and without attempting to paint, the lily, the right hand moves down and pulls either end of the hanging silk to apparently centre it. Because the ring is now gripped this gives the impression that the silk is free. To conclude the effect the first finger of the right hand pushes the ring imo the left hand which is then opened to show that the ring now encircles the silk.

In conclusion may I say that the audacity of the method calls for an even tempo of action throughout. The slightest suggestion at the wrong time will kill the smoothness and deceptiveness of the effect.

3i<m Oialtiie^

WidAfat SJhinhinfy

Editor's Note

In the last month's " Magic go Round. " apologised for the fact that lack of space did not alloiv us to publish in that particular issue two effects bv Ron. Bailhe making use of the excellent impression pad gimmick that he described in that number, under the title of Creating an Impression." We promised them tor this issue and. here they are. The first, as the above, title tells you, is called " Whhful Thinkin? " and is a 11 Living and Dead" Test in '7 lighthearted manner. Besides the faked envelope stack and carbon pad detailed in '' Creating an Impression " you mill require a duplicate unprepared pad and pencil.

There are 5 or 6 envelopes on top of the faked stack. One of these can be distinguished from the others. A good method of doing this is to pick, from a bunch of envelopes, one which has a natural mark on either side; then pick out four or five others which have no natural marks on them, or which all have natural marks, in a different position from the one that you picked out first. These are on top of faked stack, the marked, or differently marked, one on top.

Set-up:

Envelope stack in right jacket pocket.

Pads and pencil in right trouser pocket. Working:

" We all have a pet aversion to some person or other," you patter, " perhaps merely an acquaintance, or perhaps some well-known personality." " You sir," you continue, turning to a nearby spectator, " I'm sure that there's someone that you can't stand, someone who annoys you considerably, someone you'd like to see dead!" " Would you care to print the name of this hateful person, or his or her profession, on a slip of paper?" you say to him, handing him the carbon-pad and pencil.

"Just print it quite slowly, putting all your hatred into each odious letter as you print it!" Turn away as he does this. Ask him to tear off his written-on slip; to fold it. This done, ask him to show the name to nearby spectators. Take the pad from him and put it in your trouser pocket Proceed as in "Creating an Impression." " When several people have seen the name you've written," you say, " Will you take your slip again, refold it. then seal it in one of these envelopes." Take the envelope-shell from jacket pocket and hold it up, thus glimpsing and memorising name through " window." Drop the stack, "window" side down,, on your table. When spectator is refolding billet remove the top (marked) envelope from stack and give it to him to seal his billet in.

" There are some people however," you continue " Upon whom we wish no ill-will. Someone known only to ourselves, or known throughout the world, for whom we personally have a great admiration, or perhaps affection of a baser kind!" Turn to another spectator, " You sir, I'm sure, have the greatest admiration, respect and worship for someone known to yourself or others. Would you care to print the name of this person, or his or her profession, on a slip of paper?" Hand him the unprepared pad and pencil. " Concentrate on this name, putting all your loving kindness into each letter as you print it! Then tear it off . . . etc. . . . and seal it in an envelope." Give him an envelope. Repeat with three or four others, getting them to write names of people they like.

Ask another spectator to collect the envelopes and to mix them You can, if you wish, after pocketing the envelope-stack, allow yourself to be " see-down-nose "blindfolded. Ask spectator to hand you an envelope, note if it is the marked one or not as this is done. Hold it up, asking the spectators who wrote to concentrate on the names. Assume that the one handed to you is a " nice " name. " What an aura of beautiful thoughts surround the name in this envelope!" you say, " Surely no one could wish any harm on this person. This can't possibly be the one that is hated!" Go on like this for a little longer then hand it to a spectator, asking him to open the envelope and to read out the name. " Rita Hayworth," you repeat when he's read it out, " I harbour a few loving thoughts for her myself!" Have this confirmed by person who wrote it as a " nice " name. Continue, in this manner, with the others.

When you're handed the hated" name, (marked envelope), take it, gasp, drop it on the floor like a hot brick. " What an aura of horrible hatred surrounds this person!" You say, " I wouldn't be in their shoes for anything! Who said that thoughts couldn't kill!" Go on like this, making it obvious that this is the " hated " name. Hand it to the person who wrote it( with a pair of tongs, if you wish!), asking him to open it and confirm, NOT, however, telling you the name. " I know it would be a bit of an effort," you say to him, " But do you think you could bear to concentrate on this name for a little longer? Just think of each letter in turn."

You now slowly reveal the name or write it on a slate. Or you can get spectator to write it on another slate and duplicate the name on yours. If the name is a well-known one you've got plent\ to build up on, or if its a profession, e.g. "Income Tax Inspector," " Bank Manager," etc., you've got plenty to build-up on too.

You don't need to make this a humourous test if you're not that way inclined.

Stan SSaiCLie't frmvctfi iDimendianaC JAaiifyflfa

This routine is based on Annemann's " Fourth Dimensional Telepathy."

Properties :

Faked stack of envelopes and carbon-pad. (See " Creating an Impression "). An unfaked duplicate pad. 2 large slates and chalk. A display stand, about Sin. high (as used to display price-tickets, etc., in shop windows). A nail-writer or small stub of pencil.

Preparation :

Tear off the first sheet of the unprepared pad. Fold it once one way, twice the other, then open it out again. With a tiny dab of wax fix this opened billet to the middle of one of the slates.

If a nail-writer is used, have it in some get-atable place (you may like to wax it to the slate or onto a stick of chalk). Or, if you don't have a nail-writer, fix a tiny stub of pencil to one end of a stick of chalk then colour it to mach the chalk.

Set-Up:

Faked stack in right jacket pocket. The two pads, and a pencil, in right trouser pocket. On a table lie the two slates, the one with the billet on it lies " face " down, thus concealing billet. Chalk, including faked piece, is in a box on table. The display-stand is on table or in some prominent position.

You need one piece of information, the name of someone in the audience.

Working :

Go to a person in the front row (we ll designate this person, " A"), hand him the carbon pad and pencil. Ask him to write any three or four digit numbers on the pid and to concentrate on each digit as he writes it. Proceed with the moves detailed in " Creating an Impression."

" When several people have seen the number, would you refold your slip of paper and seal it in one of these envelopes," you say, holding up the faked stack of envelopes and thus glimpsing the impression through the "window"; memorise this number. Hand him one of the unprepared envelopes from the top of the stack.

Go to another spectator; take the unfaked pad from your trouser pocket and hand it to him, along with another unfaked envelope. Ask him to print any name on the pad and to concentrate on each letter as he prints it. He is then to tear off, to fold, to show several other people the name he wrote, to refold and then to seal it in his envelope. (This person will be " B ").

Taking the pad from him, go to the spectator whose name you know, hand him the pad and another unfaked envelope, asking him to draw a picture or diagram on the pad, to tear off, etc., etc. (This person will be " C "). As he does tjiis, go to " A," take his sealed envelope from him, ask him what his name is, and apparently write his name on his envelope. What you really write is the name of " C." Go to " B," ask him his name, pretend lo write this name on his envelope, but write " A's " name instead. Go to " C " ask his name, pretend to write it on his envelope, but really write " B'.s"

Ask any other spectator to assist you, give him the three envelopes (This spectator we'll designate, " Umpire.") Stand beside the table, " Umpire " near you. Explain that you're going to ask the spectators to concentrate and will record your impressions of their thoughts on a slate. "Now who was the first person, the one who's thinking of a number?" you ask. " You sir?" you continue, as " A" acknowledges, " What is your name again please?" When he gives his name, ask Umpire " to give you " A's " envelope. (It's got " A's " name on it but contains " B's " slip with a word on it). Hold it to your head for a moment, then clip this envelope, name side towards spectators, onto the display-stand.

" Please concentrate on your number," you ask " A," " Centre your thoughts on your envelope; think hard." Take the slate with billet attached, keeping that side towards you, thus concealing billet (the "Umpire" should be some little distance from you). Take the faked bit of chalk or get the nail-writer on your right thumb. Start writing your "impressions" on the slate, not letting anyone ?ee what you're writing, of course. With the nail-writer or faked chalk, write " A's" number on the billet attached to slate; you're perfectly covered by the slat- . This done, still under cover of writing on slate, fold the billet. Pretend to be having some difficulty with " A's " thoughts, scrabble about with the ch'ilk on the slate, rubbing out occasionally. Ask him to concentrate harder.

Write correct number with chalk on slate. Detach billet from wax and finger palm it in whichever hand you use for whichever billet switch you use.

" That's it, I think," you say, drawing a chalk line round or under the figures. Ditch the nail-writer if you're using one. Prop the slate up against something on table or just lay it down, blank side to spectators.

" Now let us see if I'm correct," you say, and, going to the display stand, you remove the envelope. Tear it open, remove billet, drop envelope, name side down, on table. Open billet, read it, memorise the name on it, smile and nod, refold it and switch it for the finger-palmed one as you hand it to " Umpire." Ask " Umpire " to read out the number on it. Have " A" acknowledge it. Turn your slate round and show that you wrote the same number.

Rub out the number on your slate. Ask the second person, " B," what his name is again. "Umpire" hands you envelope with "B's" name on it (it contains "C's " drawingV Hold if to your head for a second, then clip it onto displaystand. Asking " B " to concentrate, print name on slate. Repeat as before, tearing open envelope, apparently confirming your " impressions," really reading and memorising he drawing then switching this billet for the one you've had finger-palmed all the time. " Umpire " re ids out name on " B's " billet and you show your slate.

There are two alternative endings with " C's " drawing (the envelope with " C's" name on it really contains " A's " total).

1. Proceed as before, putting "C's" (?) envelope on display-stand, duplicating his drawing on your slate then switching billets, etc.

2. Tell the spectators that "Umpire" would find it rather hard to exactly describe a drawing orally when he confirms your slate " impressions," or, tell spectators that a drawing is much harder to concentrate on than figures or letters. Ask "Umpire" to tear up "C's" (?) envelope, then ask him to take the other slate and a piece of chalk, to give it to " C " then to resume his seat in the audience. Ask " C " to draw the picture he's thinking of on the slate he was given. You duplicate it on your sla'e either before or after he draws on his. You can allow yourself to be blindfolded or escorted out of the room for the duplication business, all depending on the conditions you're working under.

If you can't find out the name of someone in the audience beforehand, you can cut out the signing of the envelopes. U s 3 marked envelopes (nail-nicked, etc.). In this case, you proceed as before, but simply choose the envelopes yourself when you clip them, one at a time, onto the display stand. You'll leave the envelope which contains " A's " total till the last, of course. Have the envelopes marked anyway, whichever method you use, then you're all set to work it either way.

& WJhitnaiea

A more suitable title for this card effect might be " Predicted Coincidence." It can hardly be claimed as original except in so far as the combination of a number of known devices, etc.. is used to bring about a surprising result under apparent strict test conditions.

Effect:

The Performer writes a prediction on a pis:e of paper and hands this to a member of ihs audience for safe keeping.

An assistant examines and shuffles a pack of cards. He is then instructed to take the pack behind his back, to cut it at random and to mark the cut by turning over the upper packet and replacing it face upwards on the lower packet. In this condition. he drops the pack on the table.

Another pack, with an entirely different coloured or designed back, is handed to him to be examined and shuffled in similar fashion to the first. He hands this back to the Performer, who immediately and in full view cuts this pack, turns over the upper packet to mark the cut and drops the pack on the table.

The assistant is now instructed to remove the facing packet from Pack No. 1. and to reveal the face down top card of the lower packet. Let us assume that this proves to be the Four of Diamonds. He proceeds to reveal similarly the card at which Pack No. 2. has been cut and tV -also proves to be the Four of Diamonds.

Finally, the Performer reminds his audience that he handed out a prediction before either p-icV was shuffled by his assistant and asks that it sh »11 now be disclosed. The person to whom the prediction was handed reads— " Both packs will be cut at the Four of Diamonds."

Positively no duplicates, cards added, double backed or faced cards, threads, wax or gimmicks: and the prediction is actually made before touching either shuffled pack.

Secret and Work'nt»:

I almost blush to record that this sensational and dazzling (?) effect is produced by somewh-it shady means, to wit, little more or less than a couple of marked packs. The ords in Pack No. 1. are marked on their b acks and those in P'^ck No. 2. on their edges.

I am guilty of some deception in leading my readers to believe that the prediction is actually passed out before Pack No. 1. is handed to the assistant. That is not quite the case; nor will the Performer be strictly truthful in telling his audience that it was made before either pack was shuffled. Still, that should not cause him much loss of sleep.

In the first place, Pack No. 1. is handed to the assistant with the request that he counts the cards with the faces towards him, thereby satisfying himself that it contains the correct number and denomination of cards, and then shuffles it as much as he likes, meawhile, says the Performer, he will make a prediction.

Taking a pencil and paper, he writes slowly " Both packs will be cut at the The assist ant should now have completed his shuffle and may quite possibly have dropped the pack face down on the table. If not, he receives a whispered instruction to do so. The Performer is apparently intent upon the completion of his prediction, but a casual downwards glance at the marking on the back of the top card informs him that it is say the Four of Diamonds. He completes his prediction accordingly, folds the paper and hands it out.

Addressing himself now to the assistant, he picks up the pack and explains what he wishes him to do; viz., to face the audience, to put his hands behind his back, and so on; before actually placing the pack in the assistant's hands. In the act of so doing, and under cover of the assistant's body, a simple movement of the thumb turns the top card over into a face up position. The subsequent cut and reversal by the assistant causes this card to become the top card of those facing downwards.

Pack No. 2. is next introduced and handed to the assistant with the request that he counts the cards with the faces towards him and shuffles them as much as desired, i.e., just as he did in the case of the other pack.

All that remains is for the Performer to take this pack and to cut off and reverse all cards above that which is shown by the edge marking to be the Four of Diamonds.

Notes Re Pack No. 1.

I personally make u?e of a pack of U.S. Playing Card Co. Rider Back Cards which I have marked according to the method described on page 17 of R. W. Hull's " Eye-Openers." but it is not difficult to devise some system of marking for almost any design of back which can quickly be interpreted by the Performer but which is not foo obvious to anyone else.

Notes Re Pack No. 2.

My system of edge marking—a modification of Robertson Keene's Demon System — was explained and illustrated in the Mmnr Wand Vol. XXIX. page 31; but our Editor would no doubt be willing to reproduce, should there be any demand.

Additional Notes :

The assistant is not, of course, invited in so many words to examine the cards closely; but the fact that he counts both packs with the faces towards him and then shuffles freely inevitably produces the impression that there can be no possible preparation.

It is not easy to ensure that any desired movement shall be carried out exactly according to plan when the hands are held behind the back. For this reason, care should be taken that the assistant is properly instructed, and he should be watched to see that he carries out his instructions without mistake. In any other events some contretemps is almost certain to occur.

The weakest point in the whole effect, and that requiring most care, is in the cutting by the Performer of Pack No. 2. It is perhaps best to note, and obtain a little finger break above, the desired card before announcing any intention of cutting this pack. This should be done whilst turned half left and engaged in pattering to the assistant. A half turn is then made towards the audience for the purpose of explaining what is now intended, atier which the pack is cut and the upper packet turned over without any hesitation.

The force of the top card of Pack No. 1. is, as most readers well know, Henry Christ's 203ri Force as adapted by Paul Curry.

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