By Ellis Stanyon

In every issue from No.i, Vol. I, to present date.

Acme of Control with Cards.—Any person in audience selects two cards from any pack, and with pack in his own hands, inserts the two cards himself and shuffles pack to any extent. The pack is now returned to performer who " ruffles " it once only and without looking at the face of a single card instantly produces the hvo chosen cards from top, bottom or middle of pack. Cards are not marked or scratched in any way, and in conclusion no cards are palmed away and every card may be examined, checked, and pack counted.

The trick is entirely dependent on the fact that not one person out of fifty can remember, for any length of time, the names of 2 cards, alike in colour but different in suit and value, without confusing theirrelative suits and numbers. When, therefore, the performer shows two cards, the collective numbers of which correspond with those chosen, but with the suits reversed, the confusion reaches its climax and the spectators readily believe them to be the chosen pair. They will do so in any case rather than risk exposing their inability to remember two cards.

To prepare for the trick secretly place say the seven of diamonds and the eight of hearts 011 the top of the pack, and the eight of diamonds and the seven of hearts in the pack. Force the choice of the two cards from centre, (for how to " Force " and "Palm" cards see "Conjuring for Amateurs ") palm the two from the top, and forthwith offer the pack to the drawer that he may replace and shuffle his cards, after taking note of them, with the rest. For obvious reasons it is as well to give him the least possible time to meditate upon his selection.

When the pack is returned the palmed cards are replaced 011 the top and the trick is finished as explained in the effect. If the cards are to be found in the middle of the pack they must be put there by means of the " pass," while the simplest of false shuffles will leave them at the bottom of the pack, having, apparently, been driven there by a blow of the fist on the top of the pack. The greater part of the sleight-of-hand mentioned may be dispensed with by previously and secretly placing the two duplicate cards in the pocket of a member of the audience (it is possible to arrange them there in the act of producing other cards from his pocket in a previous trick), under a flower-vase, etc., etc., and in conclusion to command that the two cards leave the pack and pass to the position in which are the duplicates.

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New Billiard Ball Sleights, etc.

By W. Gilbert, Chester.

1. Come forward with ball palmed and show hands empty by ordinary change over palm leaving ball palmed in left hand. Stand with left side to audience and show right hand empty then turn it with back to audience and fingers pointing to floor, the left hand now strokes the back of right, and as the right hand fingers are covered by those of the left, the right hand 1st and 4th fingers grip ball and lift it out of left palm into its own palm, the left hand is casually shown empty and the ball produced in any manner desired. I use the above method of taking articles from hand to hand and a little practice of the sleight will repay the reader as its deceptive-ness is unquestionable.

2. Appear to place ball from right hand into left standing with right side to audience. Now hold left hand as though containing ball. The right hand now

. presses the ball it has palmed against left wrist and the hand has only to move along the left arm towards I shoulder at the same time turning around palm to audi-I ence when the ball if lightly pressed upon during the movement is left concealed between back of right hand j and the left arm. The above move is reversed and the I ball recovered in right palm. Both hands are now brought 1 down to the knees the eyes of performer remaining fixed on left Jia7id which the audience believe to contain ball. The right hand places ball against upper side of the thigh somewhat to the right and under cover of a movement made by left hand, the right hand is turned over (moving to the left) leaving ball hidden between the back of it and the leg by the same sleight as used 011 the arm. The left hand now makes a slap at the side of left leg and at the same moment, the right turns and palms ball which it produces from back of right knee.

Another method of turning hand around is this.—Palm ball as near the wrist as possible and press ball against leg, close fingers up into palm, bring the hand in this position slightly up towards body when the ball is rolled | out of palm on to the backs of the fingers, now press ball | against leg with the backs of fingers and at the same time turn palm to audience moving hand down a little and the ball is at back of hand. This method is somewhat slower than the one before explained but by using it the ball does not run the risk of being seen as it does not once come into view in any part of the movement if executed properly. I myself do not use this method as I have been using the former for several years and can turn the hand around so quickly that it is impossible for anyone to catch a glimpse of ball even though they were watching the hand while it turns around, but I always keep tliem as busy as they can be looking at the hand which they believe holds the ball.

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(In every issue from No. i, Vol. i, to present date). GOLDIN, Palace Theatre, June, igoo.

Performer comes on with a rush as usual, suggesting nothing so much as a fire, and fire there is sure enough, for snatching a cloth held in readiness by one of his several assistants, he produces a bowl of fire from its folds (for how to produce the fire bowl in the most effective manner see our issue for June last).

Novel Drum Trick.—Assistant holds up a whole sheet of newspaper, breast high, and Goldin shows a nickle-plated band (drum), about 6 inches diameter (the diameter must be such that the performer can span it without difficulty) by 4 or 5 inches deep ; also a N.P. band about 1 inch deep and large enough to pass readily over the drum. Passing the drum behind the paper and the band in front, he presses them together, the paper thus forming one end of the drum : taking the the paper from the assistant, he shows it 011 all sides, returning it to assistant with the open side of drum facing audience. Taking another, and smaller piece of paper, and another N.P. band he presses them on to the open end of drum to complete it : this movement necessitates pressure from behind, so behind goes the disengaged hand (now, not having been behind the paper, I am only supposing) to first remove from under the assistant's coat, a duplicate drum (but a trifle smaller) made up in exactly the same manner as above described and containing a load of flags of all sizes and nations, and secondly, and in the act of bringing the liand on to rear of drum to secretly force the second drum through the paper into the interior of the first. Taking all from assistant, performer tears off surplus paper and attaches the drum (with the aid of rings on its sides) to the ends of cords (brought from wings by assistants) leaving it suspended in the air in centre of stage.

Flags are now produced from drum one by one and laid over the outstretched arm of assistant who stands side 011 to audience, when all are out the drum is removed b}^ assistants and cords are handed to performer who apparently attaches them to bundle of flags taken from man's arm—he really attaches them to the outside corners of a pair of very large flags (Ensign & U.S.A.) joined together and taken from inside of man's coat undercover of the others, the smaller ones he grabs into a compact bundle which is hidden (as he is himself for that matter) behind the larger flags rising as the pull is put on the cords. When both large flags are fully extended performer drops bundle of small flags behind one of them to be instantly carried away by an assistant, at same time he himself emerges between the two large flags.

Trick of Inertia.- Goes to table, takes some refreshment, replaces jug and glass on table, then takes two front corners of cloth and snatches it off table without moving or upsetting anything. Observe that the objects are placed on a tray and that the cloth does not over-hang the rear corners of table.

Rice Bowl and Vanishing Water,—followed next, for a full explanation of which see our issues for March and

May last. Performer worked the usual amusing sleight with the paper bag that had contained the rice. The water found in bowls was poured into a flower pot, over which a handkerchief was waved when a tree, some 12 inches high, shot up out of pot.

Illusion No. i.—A small platform on four short legs is run over centre trap on stage close to drop scene, on the platform is placed a light paper cube in size about a couple of feet, the cube suddenly changes to one double the size, platform is wheeled to the front and a lady jumps out of cube. A nickel-plated stave of music is now lowered from the '' flies '' (stretching nearly across stage) covered with N.P. notes; to this stave is suspended at regular interval an octave of "top" hats each-hat containing bells of a different tone. L,ady produced from cube, dances in time to band and at the same time plays the accompaniment of bells by kicking the hats as required, a very good exhibition of high kicking sure, as the hats hang about on a level with the lady's shoulders.

Weighing flachine Illusion.—This is drawn to centre of stage. The pans are some 3ft. in the air, the whole being mounted on a sort of box arrangement in centre. Box steps on wheels are run up to one of the pans (the steps stand over sheet of paper spread 011 the floor) to enable a lady to take her position in the pan. When she is in position a curtain is dropped from beam all round her and weights ? are placed into the opposite pan to produce the supposed balance. I say supposed, because 110 sooner is lady covered than she must pass from pan into box steps to be wheeled away. When the balance (trick) is obtained a pistol is fired and pan occupied by lady goes up, while the lady or her double appears in body of hall calling out " Here I am." The curtains and skirt part of the trick are, doubtless, managed exactly similar to the illusion Escape from Sing Sing, explained and illustrated in Vol. II of "Magic" p. 4. The way the "balance is really effected will be found explained and illustrated at pp. 143—6 of " Robinson's Spirit Slate Writing."

Production of Flowers in Pots on Special Tables.—

See " Leaves from Conjurer's Scrap Books" (Bur-lingame) which besides an explanation and illustrations, gives excellent " patter " for the trick, pp. 86- 90.

Trick Table.—This is an oblong ordinary looking table (about 3 ft. by 2 ft.) but capable of producing an extraordinary surprise. Performer smacks it heavily on the top to prove solidity, then quickly takes it by the ends in each hand and it is instantly closed up into a compact little parcel no larger than an ordinary dress suit case and carried off in the hand by the handle as the case would be.

Aga Illusion.—Latest floating lady from box in centre of stage in full light. Want of space prevents my giving an explanation here but I expect to be able to do so in an early issue of " Magic."

Eggs and Duck Tub followed next.

Canary and Cage.—Explained in same artiste's programme given at p. 4, Vol. II of " Magic."

Eggs on Tray.—An explanation of this trick of Inertia will be found in " Magic " for November, 1603 ; see also the additional effect suggested to me by Mr. Thorn and ' given at p. 87 of this volume.

The Lion's Bride Illusion—A raised cage is seen in centre of stage, one half of which contains what appeared to be a lion, it may be a lion but the hind quarters rather suggested '' poodle'' to me ; he was rather closely packed not at all ferocious or even demonstrative, and I could not get a good look at his head. (I am not attempting to under-rate the illusion, merely to explain it—use a full grown, forest bred lion" if you like—and to cart him about, mind, and keep him, but that is not necessary for the illusion). The cage, for effect, is guarded by an outer cage, probably wood, but it looks like iron ; the lady is introduce 1 and having takei up her position in her part of the cage, the outer cage is removed in sections by the attendants and so quickly that no indication of weight is given. Blinds are drawn round the cage with the lion and his bride, the indispensable pistol is fired, curtains are raised and cage is seen empty and is forthwith pushed back (on wheels) into a special recess at rear (centre) of stige.

The disappearance from cage may be effected by three or four of the usual methods employed for similar effects, so as I am getting "held up" for space will omit any explanation of this part. The cage out of the way a large trunk is seen in process of being lowered from the flies. Trunk comes down on slanting wire from front to rear of stage. The trunk is locked and corded and 011 being opened a second trunk is found within also locked aud corded, in the second trunk is a third one also locked and corded, this is carried to footlights and on being opened the bride is discovered within. The second trunk on being removed from first is doubtless placed over the trap so that lady can enter the two via the bottoms while the second trunk is being opened. The ropes on the last two trunks need not necessarily pass under them. The lion was not reproduced, which rather disappointed me, as I was anxious to get another look at him, if not to pat him or shake hands—he troubled me somewhat.

New Air Ship Illusion.—A beautiful model of an air ship, covered all over with various colored electric ; lights, is seen suspended in centre at rear of stage, quite close to special drop scene. Ropes from the ship attach to basket, which appears to be an imitation of a basket painted or fixed on a board, the bottom of the board touching the stage. Goldin appears in evening dress aud proceeds to disguise himself by donning a long loose coat and slouch hat (I was not aware that aeronauts favoured such attire) then disappears momentarily behind 'basket,' rather altogether through trap in scene, while his double, hitherto concealed behind 'basket,' climbs into the ropes. A pistol is fired, down come the blind, while almost at the same moment Golditi rushes on at the wing and tearing off his disguise, speaks eloquently, though in dumb show, the words, " Here I am."

The above lengthy programme is got through in something like 20 minutes, which goes to prove, that, whatever conjurers as a body may think, the "Show" is unique of its kind. It is certainly the most costly conjuring " Show" I have ever known staged in this country. To equal it, without any attempt to surpass it, one must certainly work hard and spend much money. That the performer received the curtain nightly goes to show how much the "show" was appreciated by the audience, which after all is where, to the performer at any rate, the satisfaction lies.

jsr.B.—SUPERIOR Apparatus for the production of the above magical programme in its entirety may be obtained from Stanyon & Co., at from 25 °/o to 50 °/o below the catalogue price of any conjuring trick dealer in the world.

some new "simple" tricks.

The Mesmerized Cards.—This is one of those tricks that combine simplicity with wonderful effect. The performer places the palm of his hand flat on any number of cards, laid out in the form of a circle about 9 inches diameter, then raises the hand, to tvhich the cards are-seen to cling, and waves it about in the air in any position. At any moment, say at any number counted by any person, the cards fall from the hand, and another mystery remains unsolved : it is impossible to detect the modus operandi at this point.

Here is the secret. A fine needle is pushed through the fleshy portion of the hand at the root of the middle finger, the needle laying in line zvith the finger. The hand is now laid flat on the table and a card is inserted sideways under the fingers and above the free end of the needle. A second card is next inserted under the hand and over the opposite end of the needle. More cards are now inserted under aud all round the hand to form a circle, each card being pla^d above the cards previously inserted aud which hold those subsequently placed in position. The needle is invisible at a few paces, but in conclusion after the hand has been raised, an extra card may be put in the centre of circle so as to completely hide it ; at the proper time a slight contraction of the hand suffices to break the needle away when all the cards fall to the floor in a shower.

New Changing Card—This card is shown and appears to be say a 7wo of Hearts, but the fingers covering one of the pips hide not a heart but a spade pip. The card is transferred to the opposite hand and turned back upwards. A 'pass' is now made over the card, and when it is again turned over it seems to have been changed to a Two of Spades.

New Torn Card.—Done with any selected card. Conceal in the hand a corner, torn from any card, but as near the shape of a black metal pocket to fit over corner as possible. Seem to tear corner from selected card, but really put on the black metal pocket aud show duplicate corner. If you now hold the card near your black coat the illusion is perfect. The metal corner is attached to your coat by a short thread. Now seem to throw corner at card, but again conceal it in the hand : jerk card away, thread pulls the metal corner off and card appears restored by magic.

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