Winston H Freer

IN DOING a series of colour-changes, it i1. effective to build up your climax until you are using but '' ONE " card, bare-handedly, to achieve your effect. To show just ONE (?) turn it over, then back to reveal an entirely different card, without preparation, is approaching near to perfection in neat, clean-cut manipulative work, don't you agree? The much-practised back-handpalm move which has so little practical usefulness under present day conditions, is all you need possess in skill. Pick up two cards as one, from the FACE of the deck, and, facing your mirror, hold these two facing the mirror also, held before you by their lower right-hand corner, preparatory to back-palming.

Lower your right hand to your side, then back behind you in a smooth sweep, execute the back-hand-palm of the face card, and allowing

the rear card to be nipped between tiie middle finger (marked X in Fig. 1.), and the forefinger. The thumb momentarily moves to '.he right, and as the card tilts towards the audience, Fig. 2, the thumb goes to its face-side, holding it, finally, between the thumb and middle finger. Fig. 3. Note that this card now conceals any sight of the corners of the back-palmed card, that might

otherwise show. Your audience has seen you wave ONE card in air* turn it over to reveal an entirely different card. You now let this card drop to the floor, arid your right hand simultaneously drops to your side, out of sight, while you draw the back-palmed card into the right palm, ready to slip back onto the back of the pack. Before executing the above change, it is effective to hold the card first taken on the table while someone marks the back border plainly with a dark pencil. This mark will still be on the changed card.

You now propose to tell how the change was accomplished! You show an odd card, and place it face down behind the next-to-front card of the pack. (They think you put it back-to-back with the face card). Now repeat the same moves as in the first change, but take up THREE cards in a triple-lift, and back palm only the facing card, as you swing your hand down and back. Turning a bit to your right, you comment that the card seems to have " changed," as they now see the other card that seemed back-to-baqk with the first, but you will note that the middle card of the three win invariably fan a bit and reveal itself, in this move, and you comment further that should they

A FEW months ago I made up the following effect for a compere friend of mine who has used it with success in many shows. The entertainer^, displaying a twenty packet of Capstan cigarettes, boldly states that habits, characteristics, etc., of a smoker are revealed by the kind of cigarettes he smokes. For example if he uses Capstan he is invariably of the sea-loving type and is usually a sailor. If he is of the austere, sincere kind he is fond of Churchman (passing his hand over the " Capstan " packet it is now changed to a packet of the Churchman brand). If the individual is of the gay nature and likes night clubs, etc., he usually smokes Piccadilly). The entertainer covering the Churchman packet with his handkerchief on the words "Night Life," removes it later to reveal a packet of " Piccadilly " cigarettes. Continuing his tale he asserts that if the smoker is a conjurer he is usually playing around and smokes " Players." The " Piccadilly " packet having been again covered with the handkerchief for a brief moment is now removed to show a packet of " Players," from which the performer removes one cigarette and lights it with the remark " I never get fagged out doing this."

ever try to fool anyone with this kind of stunt, they should make certain that this " spreading " does not occur . . . Just in the event that it SHOULD show, then, you remind them, all they need do is to finish turning over the TWO cards as you turned over the one, in the first change-move, Fig. 3, and their audience will be perplexed to see that the front card has now changed to a still different one! Again you let these two visible cards flutter to the floor, and recover the back' palmed card behind your right hip, as before. This sucker denouement is good for a mystified laugh, and is a satisfying skilful sleight to perform.

For a third effect, I now have an expanding card, with a contrasting card glued back-to-back with the smallest card that is to " EXPAND." I show this contrasting card-, go through the very same " swoop" move as in the two previous changes and show the back, or small card that is to expand. Now I state, " that in order that all may better see the result, I'll hold it closer," . . . and on bringing the card to the front again, in the reverse of the first swooping move, I let it expand, and the changed card is now seen, but four times its original size.

The effect has numerous variations and the above could be improved upon to suit the performer.

Requirements : A full packet of 20 "Players". An empty shell minus the tray of " Piccadilly" will slide nicely over this. Glue a " front " of a a packet of " Churchman " to the rear side of the " Dilly " shell. Place a front of a Capstan packet over the Churchman. If you " score" the Capstan front vertically down the centre it makes much easier the colour change palm described later.

Presentation : Have the handkerchief handy in side pocket. Hold the " Capstan " packet facing audience holding flap in position by gripping at sides. Pass the right hand over the flap and as right hand base of the thumb strikes left side of " Capstan " front double it (at centre) and palm as in the card colour change. Remove handkerchief leaving flap behind in pocket. Cover " Churchman " packet twisting the " Piccadilly " side to front under cover of handkerchief. Finally on covering for the last time, steal shell away leaving the ordinary packet of " Players" for own use or distribution whichever you prefer.

" Mr. Van Druten's Holroyd family is not a company of witches, it is a bunch of amateur, and rather inefficient amateur conjurers. And there is no entertainer on earth who so quickly exhausts his charm as an amateur conjuror." Harold Hobson, " Sunday Times."

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