Money Box Diagrammatic Circuit Drawinjg

To test the box when made, insert four coins under the elastic band so that each coin hits two terminals. Look at the back of the box and see if you have four pin-holes of light. Check that they go out one by one in the correct order from left to right as a coin is removed one after another.

When everything is set you are ready to use the Money Box.

The box gives out these small lights when the coins are in, therefore set them ready for use. You use four coins, a Two Shilling Piece, One Shilling, One Penny and One Halfpenny. Put them in order of value so that you can remember with ease. Copy the dates of the coins with Biro-ink on to your thumb, or remember them. Set the box on a table in such a position that

I i I i ill the back faces you only. The spectator approaches from the front of the box. Because the pin-lights are so minute, you have little to worry about and unless you are dead in line with the holes—the lights cannot be seen_

even from the back. From the top, bottom, front or sides—there is no chance of seeing the lights.

Your instructions to the spectator must be clear, well timed and carefully construed to make the rest of the audience imagine the Box is full of money. Stand well away and blindfold yourself with any type which permits your vision straight ahead. _

Call out your instructions so:— 4

"Now Sir. I want you to open the box—and there you will see some money. Correct?" (When he says "yes" you know he has done as he was told) "Now listen carefully please, you can take all of it—or just as much as you like, or leave it all behind—do it now, take what you want and then close the box please". Without more than five seconds delay continue, "Have you done that?" This forces him to hurry—which is what you want.

He holds the money in his hand and you look at the row of lights to see which pinpoints are still alight. By their order you know what coins are left in the box. When you know what he has got—you check the dates because the audience do not know there was only one of each coin to be taken. You tell him the exact total in his hand and then add the correct date for each coin. He confirms you are right.

Alternative methods of presentation are :— First you may have four people take part—each one takes a penny (you use four pennies instead of four different coins) and holds it in their clenched fist. You come along and tell which person has which coin—naming the dates to prove it.

Second alternative is to have one man choose four coins, one at a time, which he puts into different pockets. You tell him into which pocket he has put which coin.

That is the Money Box which when handled with care can be made into a feature trick of any act. It has one outstanding snag—something which is difficult to overcome. The effect is so good—that it is hard to believe that it was achieved without the use of a stooge; that is the price one has to pay for being clever!

(8) "Evidence" by Corinda

We have said sufficient when dealing with Technique to make it clear that it is not so much the nature of the trick that makes for success—it is the showmanship used to perform it. This plot is quite strong and has a dramatic element which tends to become evidence that the performer cannot see— and yet proves he must have some power (only if it be skill) as he cannot afford to make a mistake:—

The Effect. A One Pound Note is borrowed from the audience and the last three figures remembered. It is sealed by the spectator into an envelope. Likewise four other envelopes have pieces of newspaper of the same size as the note sealed in them. The performer tells the audience what is being done so that they may understand the nature of his ordeal in a moment or two.

The five envelopes are brought on to the stage or floor. The performer is blindfolded and stands to one side of a table. The spectator with the envelopes stands to the other side. The performer now ready to do his stuff asks for the five envelopes, he holds them above his head for the moment, and they should have been mixed by the spectator before he got them. The assistant (spectator) is told to light the candle standing on the table and then to pick up the long needle. (Use a knitting needle)—one at a time the performer is going to hand him an envelope, each time he gets one. he is to stick it on the pin and immediately set it afire. Let the ash drop into a bowl on the table and say when it is fully burnt!

There will be considerable scope for humorous remarks, false apologies and excuses to the spectator who originally lent the note. It is easy to understand that you are blindfolded and may well have the envelope containing the note burnt to ashes.

Fortunately you will have read Step Two and know all about marking envelopes for touch reading with salt, sand and beads. Or you can adapt the "Impromptu Just Chance" effect from that Step applying it for a Blindfold trick.

That is really all you have to know. One envelope, the one in which the £1 note is sealed, is marked in the corner with a bead—which you can easily feel. The rest is showmanship and making the most out of a situation which offers plenty of scope to a talented performer.

(9) Card Stab by Hans Trixer

Until I saw this method, shown to me by my good friend Hans Trixer, I always thought the best card stab trick was to use a Svengali Deck and be done with it! However, I am obliged to admit that this is it as far as the "Stab" trick goes and I think you will agree that the method is very subtle.

The Effect. The Mentalist shows a pack of cards which ar¿ all there and all different. He wraps the pack in a one pound note and then asks the spectator to name ANY CARD. He takes a knife and stabs through the note. The cards are cut at the point where the knife divides—and there is the chosen card! The effect may be presented as an "X-Ray Eye" trick— the performer seeing into the deck.

The Method. The pack is stacked (see Step Three) and you have prepared a £1 note in such a way that to miss their card would be improbable. You find out just where the note will touch the pack at the edges when it is used to wrap the deck. At this point you mark out very fine pencil lines to graduate the deck. In other words, the £1 is a ruler—and when you go to stab, you have calculated where the card will be (because the deck is stacked) so you look at the graduations and stab in the right position (see diagram). To save continuous calculations, Hans has developed a master chart which is simple, a small piece of celluloid cut out with groves. Each grove represents a line of the graduations. The chart is put on any £1 and a pencil is run through the groves—in no time a note is prepared. The same deck should be used each time as different packs will need different graduations.

(10) Blindfold "Noughts and Crosses"

This makes a neat item for a two-person telepathy stunt. Your assistant who acts as medium is seated on a chair and blindfolded. In front of her, to the right, is a blackboard. A member of the audience comes up to play "Madam" a game of "Noughts and Crosses"—but to make it interesting— Madam is blindfolded and will not be told what moves are made by the spectator!

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The Art Of Cold Reading

The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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