Free Credit Card Knife
Performer borrows a pocket handkerchief and has two spectators hold it stretched out between them by all four corners. He takes a pocket knife and places it under the handkerchief at about the center. Covering top of handkerchief with a piece of paper, he pushes the knife right up through handkerchief and paper and pulls it out of the top. Handkerchief is then shown unharmed and knife and paper are given to spectators for examination. 2 -- A pocket knife. Borrow a pocket knife or use your own. Hold it in right hand with nail Finger Palmed. Do you believe in the theory of solid through solid or the ability to walk through your front door at night without opening it Such knowledge exuberates me. That's why I have asked the two gentlemen here to hold this handkerchief stretched out in plateau fashion rather than in parachutic style. Also that's why I use this pocket knife and this piece of paper with two sides between the edges.
This hold is excellent for the well-known trick of wrapping paper or a bank note over the side of the pack and pushing the point of a pocket knife through the paper to locate the card. If the point of the knife is run across the paper over the upper edge of the pack (held at a slight slope) and the This hold is excellent for the well-known trick of wrapping paper or a bank note over the side of the pack and pushing the point of a pocket knife through the paper to locate the card. If the point of the knife is run across the paper over the upper edge of the pack (held at a slight slope) and the
Then pushing the sharpie into the meat of the lemon making an indentation in the lemon, then I squeeze the lemon to get rid of some of the juice. This half piece of lemon gets placed in a handkerchief and placed in my left jacket pocket with the pocket knife. I pull the pocket knife out of my jacket pocket , and take a look at the lemon. At this point the audience starts to see what is going to happen. Cutting around the lemon until it is cut all the way around. I ask the person who lent the bill to pull the top half of the lemon off, they do so exposing the bill inside. I have them unfold to verify their signature.
The guests depart and we turn to the author. His contributions cover routines with pocket knives, cards, coins, silks, a remarkably fine trick with an egg and a bag and billiard balls. To the last, he has devoted some thirty pages and a matter of seventy photographs. Not since the monumental work of Burling Hull, has the enthusiast for this form of manipulation been so well catered for. Every need, care and type of manipulation is touched upon and here again is something that quite easily might have been sold as a separate publication.
We have known of cases in which a pocket knife was the selected and hidden object and when the demonstrator would enter the room he would receive a sudden mental impression of the word knife, followed by the impression under the sofa-pillow, etc., and upon going to the designated spot the knife would be found. Every person who carefully practices the games given in this book will be able to add actual experiences of this kind, of his own, which have been experienced by him during the course of his work.
After two cards are forced by any of the above, a switch (taken up later) is made to a deck of only these two cards arranged alternately throughout. Pack is wrapped in paper and a knife blade inserted anywhere. The cards above and below knife blade will always be different and the selected cards,
Hold fork in left Fingers, the hand resting on table so handle of fork is almost touching table top. Right hand uses blade of table knife to pluck one of the fork's inner prongs. Carry knife several feet away and hold blade over glass of water. At the instant blade is above the glass, left hand imperceptibly lowers fork handle so end of it touches top of table. Table picks up vibrations from prongs. An audible tone results. Due to misdirection, audience thinks tone comes from knife blade and glass. Before tone fades away, take knife from the glass, at same moment lifting fork handle to cut off tone. Similar effect can be obtained if left hand secretly contains empty wooden match box. Box will resonate when fork handle is brought against it.
EFFECT A half dollar is examined and an identifying mark is scratched on it with a pocket knife. A bottle of champagne is uncorked and examined. The bottle is re-corked a spectator holds it by its neck. The half dollar is now driven through the bottom of the bottle. After the bottle is examined, the coin is magically removed from inside and confirmed to be the original.
The first tool is made from a gun-cleaning rod intended for large-caliber guns. The blade-holding chuck of the rod is modified to hold a handcuff key or a small knife blade. The tip comes from an X-ACTO knife. It screws right onto the end of the rod. The rods may be hidden on your body or in a box or bag from which you are attempting to escape. This tool will allow you to open some difficult locks.
The envelope that goes into the wallet has been prepared by cutting a hole near the bottom with a pocket knife, then the envelope is sealed and inserted in the wallet in preparation to be loaded. I also stamp fragile, open with care over the envelope just for decoration, most importantly though I have a label with my contact information over the seal in the envelope.
And many times I've gone there by wagon with my Uncle Joe. Back in those days they had what you'd call a Second Tuesday. The second Tuesday of every month, people would go in and swap things, swap pocket knives for something better, and this and that. And my Uncle Joe was famous for his horse trading, and it was said of him that he could go into town with a blade knife and come back with a team of horses because of his sharp trading. But that was, you know, hearsay, because I had no proof of it.
For a magical effect to be easy to understand, it needs to have a certain logicallity. For example, in one of my own favourite effects, I sprinkle salt on a table knife. The salt is apparently tossed in the air and vanishes. I then pretend to catch it on the knife blade. It does reappear by magic. There is a logic to this sequence. The salt vanishes and then comes back. If, instead of reproducing the salt, I were to catch a playing card, or a billiard ball, there would be nothing logical about it. It would not make sense and the audience would be confused. They would also feel conned rather than baffled. This is because I would have led them to believe that I was doing a trick with salt. I would have encouraged them to be looking for salt reappearing. They would not be expecting anything else. If, instead of salt, a card appeared, they would feel that I had qheated . They were not looking for that. Nobody had said anything about cards. It could have come from anywhere.
A pretended prediction trick can be easily worked with the Svengali pack. After showing the cards all different and riffle shuffling the pack, you write the name of the force card on a slip of paper, fold it, and hand it to a spectator to hold. Have a spectator select a card as above with his finger-tip, or a knife blade, as you ruffle the cards, or by his making a simple cut. Lay the card face down on the table, have the spectator read your prediction then let him turn the card over.
A pocket knife is brought out, opened and its blade is thrust into the side of the pack. When the pack is split at the spot penetrated by the blade, the chosen cards are found there. Mr. Elmsley uses a handsome pocket knife as a gauge. This knife is depended on to enter the pack at a specific depth (given one card Five or six trial insertions will ascertain the number of cards that the knife blade consistently cleaves from the pack. This number is important. Mr. Elmsley's knife divides the deck fourteen cards from the bottom. That number will therefore be used in the following explanation. If your knife should divide the pack differently, one small adjustment to the procedure is necessary. This will be explained at the appropriate time. The positioning is important, so its meaning must be explained. It is necessary that the three be brought to a position equal to one half the number of cards marked off by the blade of the knife. Since Mr. Elmsley's knife separates fourteen cards, the...
IN THE previous number of the Pentagram we described the effect of this miracle stab with the result that many readers either thought we were trying to exaggerate or tjiat some ingeniously gimmicked pack was being used. There was no exaggeration and an ordinary pack, somewhat maltreated by the time the effect is finished, is the only requirement apart from a pocket knife. A card is chosen from the pack, noted and replaced. The pack is then placed on the table and taking an opened pocket knife, the performer demonstrates that he proposes to stab the pack with the knife, bringing up a number of cards on the point. Actually the main point is that the chosen card shall be at the depth of the stab. If I choose the cards you might not think it so magical, says the performer, taking the cards from the point of the knife and replacing them on the pack, so I will stab the pack at the point you wish please cut the pack The spectator cuts the cards the topmost ones being placed upon one side....
The left hand is removed leaving the tumbler held by its upper rim in the right hand and in this condition it is placed upon the tabfe, a chair, or even the floor. A hole is made in the paper with the blade of a pocket knife and the magnet is lowered through the magnet contacts the top card of the pack and draws it up through the hole. The hand now takes control of the pack and the production is completed.
Two identical leather season ticket holder type wallets. These measure 100mm x 72mm. The size, in relation to the envelopes, is critical. 2. A pile of at least 20 envelopes sized approximately 115mm x 76mm. (You will destroy one envelope each time you do the trick and so will need replacements) 3. A blue backed deck. 4. A red backed 4D plus one other indifferent red backed card. 5. A permanent marker pen for writing on card backs. 6. Some white self adhesive round stickers. 7. A regular pen. 8. Some stick glue, scissors and a small knife for the preparation.
A card is freely selected by a spectator. It is then returned to pack and shuffled into it. Spectator is asked to run a knife blade anywhere into the deck. Performer separates cards and shows that selected card is at place where knife was placed. 2--A pocket knife. SECRET AND PATTER Raise upper portion of deck with right hand, swinging deck away from knife blade. Be sure to have left fingers tightly pressed against right-hand edge of cards. Figure 38. Swing arms to right about twelve inches, away from knife blade. Under cover of this movement slip upper portion of deck except top card about three inches above lower portion. Figure 39.
The Fakir asks for a volunteer, and removing a big knife from his bag of tricks, he proves that it is really sharp. He then asks his volunteer to show his tongue, and whilst talking to him he suddenly seizes the end of it with a crude contraption similar to a pair of forceps. His assistant cannot protest for the simple reason that his only vehicle of protest is now held motionless The Fakir then proceeds to cut a good two inches of the tongue right through, severs the end from the rest of the tongue and quite blandly exhibits it to all and sundry. Yes, if you so desire you can even touch it, as it is quite real.
The young man craves the car and fears appearing like a blowhard coward in front of the woman he's been trying to impress. He agrees to the wager. His hand is tied to a table. The old man pulls out a sharp pocket knife and holds it above the young man's finger. With his free hand the young man tries the lighter. It lights. A second time it lights. A third, fourth, fifth, sixth, seventh and eighth time it lights. It lights again on the ninth try. With an almost lustful look on his face, the old man grips the knife above the young man's finger, Cghting to restrain himself.
3--A table knife, pocket knife, or dagger. SECRET AND PATTER Perhaps not, as it is too well wrapped in paper. But the end of the knife sees it -- it looks right through the paper. Push the knife blade through the paper and into the deck. Assistant pushes knife blade into deck. Hold the knife tight. As soon as the knife has been run into deck, move it up and down to cut a slit in paper running to within about a half-inch from each end of the cards. With knife blade again in the middle, push left thumb into space above where knife separates the cards and right thumb into space just below knife. Figure 34.
Knife Throwing Techniques of the Ninja
Knife Throwing Techniques of the Ninja. span stylecolor: 000000Do you want to learn the art of throwing knives? Ever wondered how it is done to perfection every time? Well here is your chance. This book contains well over 50 pages of detailed information and illustrations all about the art of knife throwing. This intriguing book focuses on the ninja's techniques and training. This is a must for all martial artists and anyone wanting to learn the knife throwing techniques of the ninja.span