Annemann

respective tumblers. And the tumblers themselves? They are now bleached white and clear.'.' The vampire silks have played their part true to form, and only time can lapse until the hanks assimilate their unholy repast, become white and hungry again, in readiness for another meal.

We said before that the modus operandi was simple and it is. The glasses are straight-sided tumblers, the color is added to them by means of thin celluloid cylinders which closely, but not tightly, fit aver the outside. These are about one-quarter of an Inch longer, or higher, than the tumblers. The tubular covers fit over all, and are also one-quarter inch taller than the glasses.

The silks? Only two ever are used. This part is most amazing. It works, however, because the contrast between a white and then splotched hank is terrific and immediately the attention is drawn to the glasses which have become bleached. There is a normal tendency to think that a trick (if any) exists somewhere about the tumblers. But they are fair and can be shown freely.

For your silks use a heavy grade of cloth about 10 inches square. From silk cut a large piece in the shape of an ink blot. With fine stitches (white thread) or the "Liquid Thread" (a form of rubber cement) product now being sold in the five and ten cent stores, attach this "blot" to the center of one side of your hank. Che handkerchief has a green blot, and one has a red, if those are the colors you use.

The colored (?) glasses have been shown and covered. You take out a hank from the box holding it the two upper corners and letting the white side be towards the audience. Drape it over its covered glass. Next poke it down into the glass at its center and notice where the two front corners are, after the hank has been pushed in except for the tips. Do the same with the other hank.

When the covers are lifted they are grasped by their rims with the thumb and fingers. The colored celluloids thus are removed inside and the tubes can be shown empty carelessly.

The tumblers will be seen to have changed somewhat but the audience will not know just how. The performer grasps the front corners of a hank between thumb and first finger of each hand and draws it out. The splotched side comes towards the audience ana the glass has become bleached.

Because the natural handling of such a "vampirist" would be "touchy" to most people, the hank is kept held that way and dropped back into its box. The glasses are left unprepared.

You have pattered throughout about the vampires and source of the hanks. At no time have you made a false move — or a quick, suspicious action. The subtle turn-over of the hanks is-automatic. The theme is a perfect psychological cover-up. The purist might go so far as to put on rubber gloves before taking the white hanks from the box, and make use of a glass rod with which to push the handkerchiefs into their glasses.

thb carp know£ hen msch p hree cards are selected from a thoroughly ► shuffled and cut deck. The first spectator

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puts his card into his coat pocket, while the other two cards are returned to the deck which is again shuffled and cut.

The magician patters about the common superstition that a black cat crossing one's path presages bad luck. They seem to think such an occurence a jinx. However, such is positively not the case where magicians are concerned. He takes from his pocket a card with its back to match the deck in use, and shows its face to contain the picture of a large black cat. (Russell Swann and others might like having the picture of a plump white rabbit instead, and mention how this is one time when the rabbit can do a good turn for the trickster in return for having been rescued from the confines of a dark box or hat. Ed.)

The cat card is given the first spectator who holds it near hie pocketed card for a moment. The performer takes it back and holds it to his ear, and nods. Then he reveals the card as apparently whispered to him. It is proven correct. The deck next is spread face up across a table. The second spectator holds one end of the cat card, the performer the other. The cat card, face down, is passed slowly back and forth the length of the spread. The performer detects a movement of the cat. He removes a card which proves to be the second chosen. The deck is now squared and the cat card placed face up on the face down pack. The deck is shuffled and cut and spread face down. The face up cat card is seen and the third spectator names his card. The pasteboard directly next to the cat card is removed. It is the one named, thus proving the cat very clever, or the rabbit veiy grateful.

The secret depends mostly upon a set-up deck according to the performer'6 favorite system. For the shuffle hold the deck in the regular manner for an overhand shuffle. Give it several cuts as fast as you can (or one of those '-ery deceptive overhand combination cuts as described by Erdnase) - and then sauare up the cards and cut them in the accepted manner. This passes for a shuffle invariably when done along with the patter in a casual manner without calling specific attention to it.

When the first card is selected cut the deck at this point. Note the bottom face card while spectator pockets his choice. The second card is selected freely from the fanned deck. It is returned to the top of the closed nack (not cut, in this instance) and the fast cut shuffle then takes place with a final straight cut. The third card Is also selected from the fanned deck, but this time, as at first, the deck is cut at the spot from where it is removed, and the cut completed. However, it is not necessary for the performer to note the bottom card as he did before. The deck is put aside for the moment.

The cat card is now brought out and, mentally counting ahead one in the stack system from the card the performer glimpsed, he is able to reveal *he first person's pocketed card. Next the deck is spread face up across the table. Following the action as described in the effect, the performer watches for the first key (bottom) card that he noted and is thus able to locate the second card, for it will lie next and to the right of that card.

During this by-play of apparently letting the cat look for and find the card of the second person, the performer also notes the extreme right hand card of the spread. One ahead in the system gives him the name of the third card and he also locates it in the spread. Then, after nicking out the second card the magician picks up the deck in groups so as to bring the third card to the bottom. The deck is so sauared and placed face down on the table. The cat card is nut face up on tot) and the spectator (third) cuts. Then the performer gives It a few additional and quick cuts and enreads the deck across table, face down. The face up cat card then is found next to the last card.

"A Miller Melange" - Presented by Charles (Earle) Miller. May 23rd, 1941 - Hotel Oakland, Oakland, California. Time: 2 hr. Reviewed by Charles Bertram, Jr.

Mr. Miller was sponsored by the Oakland Magic Circle, In a show opened to the public and all interested in good magic. Some 60 persons paid $l to watch the demonstration which had been conveniently divided into three parts.

Lloyd Jones, in his strictly non-professional manner, greeted the cash customers and introduced the one-man show in person. In a com-endable manner, Charles Miller lost no time on "corny" patter before the start, and whipped right into the "Torn and Restored Newspaper". This was handled well, and directly, as befits an opening effect. Then, into a color-changing handkerchief using the sleight-of-hand method and o. colored silks: this seemed a poor imitation of Ade Duval's "under the thumb-nail" routine, but you didn't ask for comparisons — or did you?

The "Coin-in-the-Ball-of-Wool" was accomnlished with a borrowed coin upon which had been pasted a sticker, the sticker then Initialed. Miller directed the latter part of the proceedings while seated amongst the audience. The denouement was too well given away to be climactic. However, using one of the assistants for the preceding effect. Miller went directly into the Sun-and-Moon trick; he started this as a cut and restored handkerchief effect, using a borrowed handkerchief, and with partial explanation. There was considerable action in this trick, but the paner-bag-switch, and the resultant visibility of the extra handkerchiefs, killed the finale. Miller here became the typical narlor magician, with performer and spectator-assistants crossing and re-crossing in front of one another. The lack of planned and direct actions became annoying and confusing, and unprofessional in quality.

From this Miller went to card work — he reputed forte. Yet. here too, he was disappointing In his lack of directions. Ten cards were peeked by spectators while cards were still in Miller's hands. One after another, the cards were named (Miller "peeked",too) and then numbered, as he told the spectators to remember their cards for the final revelation. The comment seemed to be that this was too long-winded, without getting definitely to any point of entertainment. Eventually Miller proceeded to "discover" the cards, one by one, with some of the revelations quite good. However, here again the procedure became too involved, and Miller failed to live up to his reputation, which the magicians present well knew he could sustain. To further indulge his cam work, Miller next presented the "Tady's Looking Glass" effect, time-honored miracle of the pairs from Hoffman, and elsewhere. With a young lady on each side to assist, and with adequate reaction from each of them, this was well sold. The directness of what was going on really pleased the audience and assistants here. Then quickly into the famous Sympathetic Silks, using the same two ladles. Featuring a short-form routine here, the presentation was commendable.

Writing a check payable to himself, Miller wrapped it in a small square of tissue paper and set it on the palm or his outstretched hand. The package did not leave the sight of the spectators. A lighted match, touched to the package, ignited the tie-sue and flame consumed it in a flash, leaving a crisp dollar bill on the outstretched palm. The check had been cashed by heat. Very cute and effective. And then came the cut and restored rope. It must be admitted that the Miller rope routine is outstanding. Direct in the extreme was the cutting arel immediate restoration, only to be followed by another cut of the "circle of rope" and the pointed restoration with spectators holding each end of the rope. Yes, the rope was examined before and after, the method being purely sleight-of-hand. This was to have closed the first part of the shows however, the response to the rone trick merited"an encore — and brought one. Miller responded with the Salt Transposition (hand to hand) without the use of a prepared shaker. Clean cut, and well done.

After the intermission. Miller's table was set for another session or somewhat larger effects. Firstly was the Cups and Balls, using cups and balls large enough to be seen by all present. Here the traditional Miller skill became more apparent, because his cud-and-ball work was meritorious. The routine was not only a well-presented bit of mystery, but entertaining to the hilt. The show definitely was improved. Thence, the Chinese linking Rings, in the best Farelli tradition of the Odin routine. The routine was handled well and the spectators were pleased. As a bit of novelty, then. Miller called forth two spectators after the Linking Ring trick — and injected the Ring on Wand, using a borrowed ring. Good. To close this part of the show, and appropriately, another oriental number was offered in the Chinese Rice Bowls. Using the A1 Baker bowls, Mr. Miller ignored all senseless chatter and did the trick in pantomime. It was outstanding. Firstly the rice doubled in quantity? then, all of the rice disappeared, both bowls being empty! Then, and only then, did he produce the water. The effective presentation brought forth spontaneous applause.

After another intermission, Miller introduced the last part as a "commentary o if gambling and gambling technique." Earlier in the evening, co-author Fred Braue of "Expert Card Technique" had t in introduced, and he was watching absorb-edly. With too much talk, and too little action, Miller wearied the audience with a presentation that was neither well-considered nor enlightening. It was a somewhat sad "capper" on the general excellence of preceding magical entertainment. Seemingly, this gambling portion was not routined as well as it should have been for public presentation, and was so sketchy as to appeared pathetic. Either Miller knows little or nothing of gambling technique (a fact which he admitted orally — a mistake), or he was working under cover — afraid to admit that he did know the methods and techniques that professional gamblers must ever keep concealed. The show took a definite nose-dive at this point, and later nearly everyone went out with the thought in mind, if not orally expressed, "Well, anyway, the magic was good". Certainly, I would not have stayed had I not had a ticket in the fishbowl drawing for a magic book. Had the book been one on the presentation of gambling technique, then I would have recommended giving it to Miller. But he doesn't need a book on magic.

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