Bruce 1lli0tt

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This is one of those simple yet hardly believable little stunts to do on qulok notice without complicated set-ups or gimmicks. It is perfect for a home effect but It is necessary that tile home have a few goldfish of the contented type. The magician awaits the opportunity to "show-off" his powers, and brings in a glass of water and a carrot from the ice box. He takes a Jackknife from his pocket and starts to whittle away.

"Do you remember that erase, several years ago, "he says, as he benignly outs and chips at the oarrot, "when the oollege boys were trying to outdo each other at eating goldfish? Well, it all started as a fake, for the first one who did it actually had read a book about theatrical props and knew that a piece of carrot would look like a goldfish. That was what he really ate, and It started a very weird fad. I met the fellow about a year later and he told me his secret and even made me a goldfish, like the one I've cut here. Then he dropped it in some water to show me how real it appeared, but I made a quick and also secret pass with my hand and the fellow practically fainted for the piece of carrot was swimming. Look for yourself. They told me later he didn't touch water for nearly a month.'

When you step out to get the water and vegetable you dip a three by four inch blotter in water and put it In your right trouser pocket. Then you put a jackknife in also and lastly take a goldfish from its haven and pocket that, tool The goldfish will live for at least five minutes and you only need three. Take the knife from pocket and cut the carrot up. formiiw a likeness of a flsh(the long way of the carrot) the slse of the one pocketed. Hold It in left hand while the right puts knife back In pocket and brings out the fish laying aoross curled fingers. The oarrot fish is put into right hand and left picks up the glass. The right thumb holds the oarrot back and the opened fingers let the fish drop in the glass to be happy onoe more. The left band gives the glass out, the right goes to the pooket leaving oarrot and brings out knife, as you finish, "Would someone else like to try cutting carrots and making himself an aquarium?"

The King's Kards.

You have, say, thirty cards, which you show, back and front. You call especial attention to the fact that there are no two cards alike among them; all different. Now you take about half of the lot of cards and hand them to anyone with the request that they "hold on to them tight." Then you spread out the remaining cards and ask three different persons to each mentally select one of the cards. You now square up the cards and command the selected ones to fly into the hands of the gentleman who holds the other cards. Upon spreading out your cards, the selected ones are found to be missing, and upon examining the cards in the gentleman's hands the chosen three cards are found to be there. Attention is called to the fact that only one set of cards is used. No cards are added or substituted. No cards are changed. There is no palming or concealing of any kind, and no confederates or assistant. Can be done anywhere. The price of this very new and fine effect is TWO DOLLARS AND A HALF

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(The information about this subtlety was written by Mr. Rudy Relmer, a close friend of Mr. Hardin's for many years. In this era, with perfect double-face cards available In decks at all magical depots, it is well worth trying. Ed.)

The pack used consists of 15 regular cards plus 15 double-face oards. These faked cards, whenfaoed one way, duplicate (in any order), the 15 ordinary oards. On their other side, though, the faces are of 15 different cards. The double-faced packet is topped with the 15 face down ordinary cards. Now, if the deck is turned over and the cards fanned faces up, 30 different cards will be seen.

The following effect is very strong in the proper hands. Nate Leipsig thought so much of this that he made a point of never doing it before magicians. I think Hardin stopped selling the trick a bit later on request of Leipsig.

Now the trick isn't worth a cent If anyone suspects that prepared oards are being used, and the subtle part which attracted Leipsig is in the manner that both sides, back and front, of the cards are shown at the start. This part was not sold with the secret and the deck.

the car, and pretty well discouraged, Dai asked a little girl if she wanted ice cream, and more to make talk than anything else asked if she knew where Bill Kennedy lived. And she imnedi-ately told him where to go. Kennedy turned out to be a truck driver type of person with an ambition to belong to the genteel and elite fraternity of gamblers. Dai's opulence evidently did the trick, and the search for an efficient "center dealer" was over. Two weeks later Dai was back in Mew York sweating over the sleight he now has mastered. In a letter to Horowitz Dai added a postcript, "And a little child shall lead thee." After several years and lots of trouble, an ice cream cone was the answer.

I've wanted to talk about these people as I know thera. I've wanted to impress upon you the importance some men give to the fine points of their art, for nothing is too small to be neglected. Three of them have given me pet tricks to pass on and I want to start with 3mile Jar-row, undoubtedly the world's greatest artist at "sleeving." His puzzle problem is really new.

Horowitz, Jarrow, Rosinl

i"r>IK5S AND PENNIES OF CONFUCIOUS |

I originated this trick, puzzle, or whatever you can call it, while serving a long spell in the hospital. It appears to be so impossible that you will hear many times that you are lining when you give the miles.

Ten dimes and ten pennies (poker chips or checkers are as good) are placed side by side on a table to make four rows of five coins each. The nennies and dimes alternate with each other in both the horizontal and vertical rows. The problem: Using only the first and second fingers of one hand, a continuous move of any number of coins that can be touched, must leave the coins all of a kind in each of the horizontal rows when the fingers are lifted. There may be no eiroty spaces left nor may any row be lengthened or shortened. The set up must be as compact as at the start, but after the move, one row consists of all pennies, one all dimes, one all pennies and the other all dimes. You will appreciate thi3 much more if you try it before sneaking a lock at the solution.

It is very simple and it can never be forgotten once learned. The tip of each finger is rested on the second and fourth coins of the top row. With a circular swing they are removed from their positions, moved to below the bottom row and then pushed up against the second and fourth coins there. The shove is continued which moves these two vertical rows upward and when the two coins under the fingers have taken their place in the bottom horizontal row, the feat is accomplished. Try this also as a trick rather than a puzzle. \Vith one hand hold a big square of cardboard over the original layout. Show your two fingers outstretched and place them deliberately beneath the cover. Make the move without any jerking notions. Show the two fingers again and lift the board. The distinct change in the layout is very startling. It Is hard to believe it yourself.

S. Leo Horowitz, Paul Rosini, Dai Vernon

IA FUTILE LESSON ITT MAGIC |

One of my favorite card tricks for many years is a spelling effect which uses a person from the audience without the usual "take a card" angle. It brings many laughs and makes the audience think that the performer is an expert card manipulator.

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Only thirteen cards are used, Ace to King, all of them black except the 9 which is red. They are on top of the deck, arranged as given here later, and when the spectator arrives, you give the deck a fancy shuffle and cut, pick off the group, toss the others aside, and say that you need only a few to teach him how to be an expert magician.

Tell him that cards respond to their spelled out names. Spell A-C-E, putting a card from the top to the bottom for each letter. Turn up the next card. It's the Ace. Toss it away. Repeat this with TWO and THRSS. Then give the deck to the spectator. He spells FOUR but turns up the red 9. You take the cards from him. return the 9 spot to the bottom, and proceed to spell FOUR and turn up the next. It IS four. He then tries to spell five, but he turns up the red 9. You take them back, put the 9 spot on bottom, and successfully spell out the five. He tries SIX. He gets the nine. You try SIX. You get the six. Then you try the SEVEN and, of course, you get it.

You call upon a woman, now, and she, trying EI3IIT, gets it. She also gets NINE and T3N. As the nine spot goes out of the deck you remark that you're glad that won't bother anyone any more. The man how is allowed to try for the JACK but he misses, as usual. You try it, and get it. You give up now,- as you start to have him try the Queen, shake your head and say that it's of no use. Then you get the Queen and King. Then excuse your helpers with a sad smile. "It just isn't in the cards, I guess, to make ex pert magicians out of you in one lesson."

I THE DEVIL'S PIE SECRET |

Cne of the cleverest single die and cup effects I've ever seen was shown me by a gambler several years ago. The secret of this truly impossible trick has been closely guarded. It is impromptu and uses only one die and a regular dice cup or a paper drinking cup.

The onlooker shakes the die in the cup and then turns the mouth of the cup downward upon the table. The seer takes hold of the cup without lifting it, shakes it a bit back and forth upon the table, and then announces the top number on the cube. He lifts the cover. He's right.'

As shown me, ray shaTpshooting friend did the stunt on a billiard table covered with the regular green baize cloth. It is applicable,though, on almost any smooth surface. First you have the person shake the die and throw it a couple of times. During this time you wet your right second finger tip without being stingy with the spittle. On his last throw pick up the die and drop it in the cup. Your finger tip leaves its wetness upon a known side. The cup is given the person for the shake finished by turning it mouth downward ouickly.

Take hold of the inverted cup and slide it feelingly back and forth on the table a bit. Feign attentiveness but keep your head at an angle vrhich will allow you to see the thin mark of wetness vrhich shows up when the known side of the die is against the table. If the streak doesn't show on the first move, give the cup a quick and jerky shake to change it. Continue this until the streak shows. Your known side subtracted from 7 tells you the number on the top side. And that was how and why a great many-dollars changed hands.

'Jfhen using the paper cups I have added a very cute angle for a repeat. The performer has about five of the cups nested. He brings them out with a die, uses a cup for the first stunt and then drops and accidently steps on it, or proceeds to repeat while someone is looking at the first cup. This time the effect works quickly and precisely with no shaking and no evident trickery or attempt at it. He holds the cup and, turning his head asks the spectator to put the die underneath with any number uppermost.

This is strictly a subterfuge and there can be no one behind the performer at the moment. Beforehand, a one inch square has been cut out of this cup against its lip. 7/hen the cup is inverted, this opening is kept on the performer's side. He tips the farther edge so that the die may be placed underneath while his head is turned. Then he slides the cup a trifle on the table, and, glancing through the hole is able to name the top number and lift the cup for verification by the others. It is such a barefaced maneuvre it always gets by. Hemember that they have been fooled by the first, and legitimate version.

| THE DIVINING PASTEBOARD I

The deck is shuffled and fanned by the magician for the spectator to select any four of the cards from any positions. The spectator

Page thinks of one of the four, whereupon they are well mixed with their faces down so that no one can possibly know the location of the mentally chosen card. At random these four are shoved into the fanned deck which is squared.

The performer now puts the deck behind his back, saying that he'll attempt to find the thought of card through the use of another as a "diviner". His right hand brings out a card which the audience remembers as a "three" spot. Behind his back the magician pushes this card into the deck face up. The cards are now spread face down across the table and the three spot seen reversed near the center. Saying that the spectator's thought of card has been found, the performer has it called aloud and proceeds to prove his point.'

This mental location is very subtly arranged to leave little or nothing for watchers to catch. Any five cards are turned face up on top of the deck. These are covered with a face down three spot. These top six cards are crimped at the inside end so that they may be lifted together when necessary.

The dock is first dovetail shuffled if desired, keeping the top six cards in place and unrevealed as being out of the ordinary. Then the deck is fanned below these for the free selection of four cards.

Hold the deck face down in your left hand and openly show the four cards in a fan v/ith the right hand. Have one thought of, and at the same time you are able to remember the order of the cards from back to face of the fan. It is only necessary to remember the values.

The group of four is now deposited face up on the deck. The right hand now apparently turns them over on the deck, but actually ALL cards above the break or crimp are turned at the same time. Immediately the performer says that perhaps the cards should be mixed. He deals four cards off the top onto the table, and asks the spectator to put his hands on them and mix them around on the table face down so that not even he will know where his thought of card may be.

Fanning the deck, with the exception of the top few cards, the performer how has the spectator push the four cards, still face down, in different places whereupon the deck is finally sciuared. Thus, to all appearances, four freely chosen cards are freely returned to different locations and only one is being thought of.

The deck is held behind the back. The performer moves the top card to the bottom. The second card is the face up three spot. He turns this over and then brings it out with his right hand. He shows it and says that it will be used as the "diviner" card. The card is returned to behind the back, placed face up on top, and the deck given a cut. Then the pack is brought forward and spread face down on the table. The face up three shows at about the center. And now, for the first time, the spectator names his mentally chosen card.

Knov/ing the remembered order of the four cards first shown, you know that now they rest , in that order, immediately under the face up three spot. Let us call them A,B,C,D. If A is named you simply show that the 3 spot has found it. If B, you say that the 3 spot locates the card. Counting the 3 as 1, the following card as 2, you turn up the next, or third card. If C, say that the 3 spot locates the card. Toss it aside, count to the third card below it. If D, do exactly the same thing, counting off three

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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