## FlTfli Dfl

ONE IN THREE

### JOHN DERRIS

THIS is an excellent effect for opening a card routine and it is in this role that I have used it for many moons. It was evolved at a time when I wanted to use a series of card effects involving the use of four cards of the same value and I tried to find a good way of producing four like cards. After playing around with many ideas for doing this I settled on the routine I am about to describe to you.

Effect : The magician shuffles the pack, cuts it a couple of times and then has a card selected by the spectator who places it to one side without looking at its face. The pack is then handed to the spectator with the request that he shuffles it so thoroughly that it is impossible to know the position of any one card. This is done and the pack is returned to the magician who states that behind his back he will try and locate a card to match the unseen selected card lying on the table. For example if the selected card were a seven then you say that you will try and find in the shuffled pack another seven.

This is done and the magician brings forward a card and lays it face down on the table; he says that he is not absolutely sure that he has the right card so perhaps the spectator would allow him to have a second chance. The spectator agrees, (what else can he do!) and the magician brings forth another face down card which is laid alongside the first. Yet again he expresses doubt as to whether he is correct and asks for a further chance, and again he brings from behind a face down card which is placed alongside the other two on the table. The pack is placed to one side and the magician asks the spectator to point to one of the cards on the table. When this is done it is turned over and is seen to be an ace; the spectator then turns over his selected card and it is also an ace—a miracle coincidence! Looking rather wry the magician say that he was fooling for all the cards on the table match the selected card —the remaining two cards are turned over and they too are seen to be aces, a triple coincidence. From hereon you are ready to go into another card effect involving four like cards.

Routine : Just a pack of cards and a load of audacity are required for this stunner. From the pack remove the four aces, place any one on top of the pack whilst the other three are placed up the left sleeve and held in place with an armband or elastic band around the forearm. The cards should be face down.

To perform, pick up the pack, false shuffle and cut leaving the ace on top of the pack, then cut or make a pass and force the ace on the spectator instructing him not to look at the card but to place it face down on the table. Then hand him the pack and ask him to shuffle thoroughly and hand it back to you. This he does and you place the pack behind your back and inform him of your intentions. As you are doing this the pack is held in the left hand and the right fingers reach into the left sleeve, remove the three cards under the band and add them to the top of the face down pack. The rest of the trick is now pure bluff. You make pretence at having some difficulty in finding the cards but remove them one at a time from the top of the pack and lay them in front of you on the table.

All you have to do now is to have the spectator select any one of the three aces on the table, turn it over and on looking at his selected card he finds that they match. Then watch his face as you turn the remaining two cards over and he sees that all four match—a really good start to any card routine that involves hardly any work on your part.

THE "MEFF" COIN VANISH

### BRIAN GLOVER

THe coin flourish I am describing was originated some six years ago. Whenever 1 have used it. it has been the cause of favourable comment from laymen and magicians alike.

The coin to be used should preferably be a large one i.e. comparable to a half-crown in size.

The coin is held in the right hand, between tips of the thumb and middle finger.

The position of the performer at this stage is as follows:—

With the body turned half left the right arm is extended across the body, so that the right hand

Figure 1

is to the left with the thumb square on to the viewers. (See Figure 1).

The left hand approaches from above and apparently takes the coin, with the following action :-

Left hand above right, back towards audience, the thumb lowermost whilst the fingers are slightly cupped. The left thumb enters the gap between the right thumb and fingers, bringing the right thumb into the left thumb crotch. The left fingers now of course hide the coin from view. (See Figure 2).

Figure 2

When this stage is reached, the following action takes place:—

The right thumb slides the coin in an upward direction, this causing it to pivot about the middle right finger-tip and assume a position lying horizontal along the nail of the middle finger. The right third finger now comes forward and rests on top of the coin, thus gripping it between the third and middle fingers. (See Figure 3 for a rear view of this position).

With the coin held thus, the right hand now revolves in a clockwise direction using the right thumb as a fulcrum. This action brings the back of the right hand towards the audience, with the coin concealed from view.

Figure 3

Figure 4

### Figure 3

At the same time the left hand rotates so that the front of the clenched hand faces the audience, which brings the tip of the right forefinger at the back of the right thumb. (Figure 4). The right fingertips are now unfurled showing that the coin has vanished and to add emphasis the right forefinger is trailed horizontally across the displayed left palm.

Figure 4

The coin can now be reproduced at the right fingertips either from behind the right knee, left elbow or wherever fancy dictates.

When performing this flourish, the various actions should be executed slowly and gracefully so that an air of studied casualness is added to what can prove a most bewildering vanish.

COLOUR-NUMBER

### PETER WARLOCK

THE modern mentalist's act has been helped quite a deal by various television presentations insofar that it has conditioned the great majority of people to the needs demanded by the mentalist, which among many things includes audience participation. and so, whilst the ordinary type of conjurer would find the request for some members of the audience to step on the stage and assist a very bad opening gambit, such is not the case with a mentalist and whilst in the case of the former, the audience might well be irritated by the necessary stall, the latter will have a sympathetic hearing.

Bearing in mind that particular fact, this effect is one to commence a mental act once four mem bers of the audience have been summoned to assist on the stage or platform.

Let us take it stage by stage first of all describing how the stage is set. A small table is placed on the platform more to the O.P. side, and, on its right (that is the performer's right) is placed a chair. Left of the table are three chairs arranged in a row with six or seven inches separating them. To the back of each chair is fastened a large card bearing a number. The chair nearest the table carries ONE. the one left of it TWO and that on the extreme left, THREE. On the table rests a smallish box tied with ribbon and beside it three tumblers in a row. Each tumbler has inside a coloured silk handkerchief; the colours are mauve, yellow and green.

Effect: The mentalist requests the services of four members of his audience to act as a committee on the stage. When they come up, they are shepherded to the performer's right. To one he says, "Sir {or madam as the case may be) I want you to keep your eye on this little box; so perhaps you'll sit here" (indicating chair on right) Addressing one of the three remaining assistants, he asks him or her to fix his or her mind on one of the numbers on the chairs, take any one of the handkerchiefs from the glasses, and then seat him or herself in the chair bearing the chosen number. This having been done, the second assistant is addressed and he or she is asked to do likewise. Finally the third assistant takes the third handkerchief and seats him or herself in the third chair.

With these preliminaries out of the way, the performer turns right and addressing the spectator seated right of the table and at the same time lifting the little box from the table asks him to undo the ribbon, remove the lid and then remove a piece of folded paper which has been fastened down with sellotape. This the assistant does. "Just open out the paper and read what is written upon it," says the mentalist. The assistant reads out, " The spectator who chooses chair number ONE will take the YELLOW handkerchief . The spectator choosing chair number TWO will choose the MAUVE handkerchief whilst the spectator on number THREE chair has the GREEN." This prediction proves to be correct and makes an impressive start to the act.

### Requisites.

I Three cards measuring twelve inches by twelve. One has a large figure ONE painted on it, another TWO and the third a THREE. So that they can be attached to the chairs easily, tapes should be fixed at two adjacent corners.

2. Three glass or perspex tumblers.

3- One mauve, one yellow and one green eighteen inch silk handkerchiefs.

4. Some sheets of writing paper, and a reel of sellotape.

5. A small box. It measures three inches by three inches and its height is only one inch. It is bottomless and has a flush fitting lid. It is most simple to make, all that is necessary being a length of wood measuring in width one inch and in thickness one quarter of an inch. Four pieces measuring two and three quarter inches in length are cut and glued to form a three inch square.

The lid can be cut from plywood or hardboard. When sandpapered down I suggest painting the box with cream paint. When the paint is dry get hold of a few feet of half-inch red ribbon, cut off two lengths of nine inches. Now with the aid of a strong adhesive, stick one end of one piece to the centre of the bottom edge of one side of the box. The other length is similarly fastened at the bottom edge of the opposite side. Now if both free ends are brought up over the lid they can be tied into a bow so that the box and lid are apparently tied securely together with the ribbon.

6. Besides the box, you'll also want six squares of sheet tin or strong thin cardboard cut three inches by three. These are painted with dull black paint on both sides, and, as an afterthought, so too is the inside of the bottomless box!

Preparation. Take the sheets of writing paper and a pen. Cut some pieces of paper measuring six inches by six. You'll need six sheets in all.

On the first sheet write the message:-

The spectator who chose chair number ONE will also choose the MAUVE handkerchief. The spectator choosing chair number TWO will also choose the YELLOW handkerchief whilst the spectator on chair number THREE has the GREEN.

On the second sheet goes:-

The spectator who chooses chair number ONE will also choose the YELLOW handkerchief. The spectator choosing chair number TWO will also choose the MAUVE handkerchief, whilst the spectator on chair number THREE has the GREEN.

Sheet three takes the following:-

The spectator who chooses chair number ONE will also choose the GREEN handkerchief. The spectator choosing chair number TWO will also choose the YELLOW handkerchief whilst the spectator on chair number THREE has the MAUVE.

On sheet four:-

The spectator who chooses chair number ONE will also choose the YELLOW handkerchief. The spectator choosing chair number TWO will also choose the GREEN handkerchief whilst the spectator on chair number THREE has the MAUVE.

Number five sheet comes up with:-

The spectator who chooses chair number ONE will also choose the MAUVE handkerchief. The spectator choosing chair number TWO will also choose the GREEN handkerchief whilst the spectator on chair number THREE has the YELLOW.

And finally sheet six with:-

Prediction:-

The spectator who chooses chair number ONE will also choose the GREEN handkerchief. The spectator choosing chair number TWO will also choose the MAUVE handkerchief, whilst the spectator on chair number THREE has the YELLOW.

Those six predictions cover all possible eventualities. Each paper is folded into halves and quarters so that a packet approximately one and a half inches square is the result. Keep track of the various papers and fix each by means of sellotape to the central part of one of the six metal or cardboard squares. The sellotape should be fixed in such a manner that whilst it holds the folded paper securely in place, a pull on the paper will free it without any difficulty.

When all the pieces have been folded and stuck to the black squares, make a small white pencil mark at the corner of each square showing the numbered prediction fixed to it. Then take the six squares in a numerically consecutive ordered stack and slip them into the right hand trousers pocket with the sixth prediction nearest to the body.

With the box on the table together with the three glasses and handkerchiefs and the numbered cards tied to the back of the chairs you are all set for the presentation.

### Presentation.

Invite your committee of four on to the stage. Ask one to sit on the right of the table and keep his eye on the box; and then turn to the nearest spectator and ask him to choose a number on a chair and then a colour. At this point your right hand rests casually in your right hand pocket. We'll suppose that he chooses the SECOND chair and the YELLOW silk. Ask him to take the silk and sit on the appropriate numbered chair. Ask the second spectator to choose a chair number and a colour. We'll suppose that his choice falls on number THREE and MAUVE. At this point the third spectator will be forced to sit on chair number ONE and take the remaining silk which is GREEN. Now, even before you address this spectator, your right hand has located the square in the pocket which gives the prediction covering ONE-GREEN, TWO-YELLOW, and THREE-MAUVE. It is the third one from the audience. In fact so that there is no chance of forgetting the line-up the addition of mnemonic sentence will be of assistance thus:-

Number 1—ONE-Mauve (M), TWO-Yellow (Y), THREE-Green MAY

Number 2—ONE-Yellow (Y), TWO-Mauve (M), THREE-Green. YOU

MAKE

Number 3—ONE Green (G), TWO-Yellow (Y), THREE-Mauve. GAY

Number 4—ONE-Yellow (Y), TWO-Green (G), THREE-Mauve YOUR

GREAT

Number 5—ONE-Mauve (M), TWO-Green (G), THREE-Yellow MAGIC

Number 6—ONE-Green (G), TWO-Mauve (M), THREE^Yellow GAME

Thus the complete mnemonic is MAY-YOU MAKE-GAY-YOUR GREAT-MAGIC GAME.

With the location of the square carrying the correct prediction, the mentalist addresses the remaining spectator saying, "Perhaps, though there is little choice, you will take the remaining handkerchief and sit on the vacant seat." With the taking of the third silk the performer's right hand has been withdrawn from his pocket together with the necessary square which is held in a palmed position so that the folded paper is not on the side adjacent to the palm. The performer turns half left and taking the box with the left hand lifts it from the table in such a way that nobody near can see that it is bottomless, it is passed to the right hand which comes up, and as the box comes on to the right palm the square of card or tinplate is lined up with the sides of the box. There is nothing difficult about this in the least, but in making the necessary movements, angles must be studied so that those seated on the platform cannot see that the right hand carries anything before it takes hold of the box. This means that the action should be carried out slightly to the rear of the line of spectators on the stage.

With the box deposited on the Right hand, the performer allows it to sit on the palm and pointing to it with his left hand first finger asks the spectator on his right to undo the ribbon and remove the lid. He turns slightly right for this purpose and with the lid removed the performer pauses and as he offers the box to the spectator (Turn to Page 30)

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