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remaining ten matches have been tion to form the word TWO. The lot of matches may be done as please. This second tray is then placed upside down on top of the first.

The only other preparation that remains to be done is to decide on a method of forcing four cards (a 2, an 8, a 10 and a 17), from the pack of numbered cards. (I don't think that I need to describe such a method for the readers of Pentagram.)

Let me jump forward, therefore, to the moment when you have forced these four cards on to an unsuspecting member of your audience who is just about to choose one of them in a perfectly free and open manner. From that point onwards the handling of the two trays depends on which particular number he finally chooses.

If he chooses the number 2, you explain that you have a number of matches concealed between the two trays and that you are going to get them to reveal the number which has just been selected. You then pick up both trays together and shake them about as vigorously as you like so that the loose matches can be heard jumping about between them. Then take the top tray off and turn it towards your audience so that they can see that some of the matches have become stuck to it to form the word TWO.

If he chooses the number 8, shake both trays together as before but, when you separate them, keep both of them turned away from your audience (so that no one gets a glimpse of either the word TWO or the word TEN), and allow all the loose matches to fall on to your table or into someone's lap. The person who counts them will then find that there are just eight and no more.

If he chooses the number 10, follow the same procedure as for the number 2 but secretly turn both trays over under cover of shaking them so that the tray which was at the bottom is now on top. Then take this tray off and turn it towards your audience to show that some of the matches have become stuck to it to form the word TEN.

Finally, if he chooses the number 17, do not disturb the matches at all. Just remove the top tray and carry the other to a spectator so that he may count the number of matches on it for himself. (Be careful, of course, to try to avoid the sort of person who will want to move the matches about with his finger as he is counting them or he will soon discover that some of them are actually stuck to the tray.)

In each case, whatever the chosen number isr the trays are returned to their original position on top of each other before you proceed to your next effect.

stuck in posi-placing of this neatly as you

THE "TIP" ROUTINE

RAVELLI, SWITZERLAND

1 assume every reader of this magazine knows the old stunt of apparently placing a coin on a table in order to give a tip and the coin has vanished though it is heard to knock against the table.

Some time ago somebody showed me a follow up for this which he told had appeared in the old Phoenix. I am not in a position to clear that up, anyhow out of these basics I put together the following routine which has served me very well for some time. I like it because it is perfectly impromptu.

Some words concerning the presentation. It is not advisable to do the routine really when seemingly to tip. But there are a lot of other possible presentations. A way I often use is to remark to a friend "Don't I owe you still a shilling?" Before he can answer anything, you have placed the coin on the table where it has vanished. Remark, " Oh, I am sorry ! " and push the coin toward the spectators, where it again vanishes. Look at the spectator and say, " Oh, I don't owe you anything? You would not have got anything, by the way!" and here the coin vanishes for the third and final time.

The preceeding will sound very funny so now here is the actual working.

1. Display the coin on the right hand, which is held palm up. The coin is very near the fingertips in position to be gripped between the index and the little finger in the familiar palm. Look at the coin and then seemingly take it away with the left hand. This is done in the natural following way. The left hand approaches, the left fingers going below the right fingers, the left thumb going on top of the coin. Seemingly the left hand draws off the coin. During this both hands turn inwards. The left thumb only slides over the coin which is retained between the index and the little finger. Remember that you are not going to do a clever magic sleight. The spectators do not await magic at all. You just take the coin in a natural way after having made sure that it is a shilling piece. Reach forward with the left hand and put the fingertips on the table. The right hand just drops to the table where it is, that is very near the edge. Apparently the coin in the left hand is released on the table (which should not have a cloth or only a very thin one). Actually the right hand slips off the thumb which has gone on the edge of the coin in the meantime, and lets it click against the table. If you time the move well and look at the place where the coin is supposed to be the illusion is perfect.

Move your left hand away turning it over at the same time and casually showing its emptiness. Everybody will stare at the place where the coin should be and amazed to find no coin.

2. After the effect has been registered well, lift off the right hand without turning it, only moving it backward to display where the coin is. Say, " I am sorry," and apparenty push the coin forward with the right hand to the place where it just should have been. Actually you leave the coin where it is and only slide the hand forward. If you press your fingertips just before the coin firmly on the table, lower your wrist as much as possible and move your hand forward, the illusion once again is perfect. The coin is always hidden by the right arm. When your right hand has reached the spot, lift your right hand a little, and turn it a little, but keep your elbow low to cover the coin. Then move the arm backward to its original position, the hand lying naturally on the table and covering the coin which lies behind the fingertips. Lean backwards in a content manner only to let the spectators discover that they have not got anything this time either.

3. Lift again your right hand to display the coin, but do it in the following manner this time. Turn it over half way to the right, so that it stands on its edge and move it a little forward and to the right. This allows the coin to be seen. Move the hand backwards the opposite way and close the hand. Actually the coin is either shut up your sleeve or shut onto the lap whatever you prefer, advantage being taken that the coin lies in a perfect position for that. This time clearly lift the right arm off the table and hand the coin to the spectator. The spectator is this time convinced that he will get it, and is astonished to get again nothing while you say your final line. The Change Climax

Suppose you really owe somebody that that shilling. Do the routine the following way. Before taking the shilling out of your pocket, deposit 12 penny pieces neatly in a pile on your lap. The pile must not stand as it is too risky but the coins lie in a row overlapping each other so that they can be picked up easily and noiselessly. Now do the routine exactly as described above. After the coin has vanished for the second time while you are sitting back in a contented manner your left hand moves casually to the table top, the misdirection being perfect. Then pick up the coin with the right hand, actually lapping or sleeving it, look at the closed hand and say, " Oh, I understand, you do not want such great amounts of money in one piece as this is too dangerous to carry around. You prefer small change. As you wish ..." Here the coin in the right hand is apparently transferred to the left hand which opens below the cover of the right hand similar to the familar transfer change so that the contents of the left hand cannot be seen prematurely. The empty right hand is casually taken away, and the 12 pennies poured onto the table.

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