Eddie Joseph

The intrinsic beauty of this trick lies In the fact that you can ask any member of your audience to hold the knife by the handle. He does, and the jar remains suspended. THEN, you hold the jar by its bottom and ask him to remove the knife. IT COMES OUT AS EASILY AS PASSING THROUGH WATER.

The jar, rice, and knife can be left with the audience for there is nothing wrong to find.

The entire secret lies in one thing. Otoe rice has to be packed tightly inside the jar. The tapping of the jar helps. The first few short digs that you give into the jar causes the rice to fill up any loose spaces at the bottom. As a matter of fact, at each dig you actually will feel the space below the surface of the rice getting harder and harder.

On no account should you make it apparent that you are packing the rice tightly inside the jar. After you have the idea you need not tap the jar at all. 'Mien you have been performing the feat for a time you'll be able to lift the jar when only a quarter of the blade is inside. The jar I have recommended is deep enough to let the blade go three-quarters of its length out of sight into the rice.

When you wish to remove the knife from its prison rest the jar upon the palm of your left hand. Give the handle a slight twist, before letting it go, and ask that it be removed. It comes out easily. As the knife comes out, hand the jar to the person holding the knife, and let him dig the knife Into it. As hard as he tries he never will be able to suspend the jar for the blade will continue to slip out easily from among the grains of rice.

Then, you take both articles back, send the knife In slowly two or three times, and —~ suspend the jar. After you have gotten used to it discard the jar and use a tumbler, one with straight sides.

Please don't try this a couple of times and say that it doesn't work. Maybe it won't the first two, three, or even six times. It MUST work. It has been working for me for 18 years. The first digs must be short and decisive. Once you have acquired the "knack" you can do anything you like.

GOOD NIGHT annimann

«3» inale effects are not too easily found, so ♦ this idea should be favored by more than one maguc needing an exit number. The effect is not mine, for it was culled from some spot quite a few years ago and used for several seasons. I added the patter gag line and discovered the trick to be just what was needed in many cases.

The magician shows two pieces of heavy tissue paper. One is red and the other white. Both are 5 x 14 inches in size. They are placed together and torn into small pieces and folded together. Upon opening the package a sheet of red paper about 6 x 12 inches is seen to have white paper letters pasted across it, spelling the words, "Good Night."

The interesting part of all this rests in the

Page very few lines that the performer speaks. "I can't describe what I am doing, now, for the result has puzzled me for a long time. It seems always to happen that when I have performed a feat of restoring torn paper into some sort of whole fashion, everybody in ny audience simply gets up and goes out of the room. Perhaps someday I'll find out why."

These words are spoken at about the time when the restored paper is being unfolded. Before that nothing is said. Let the audience watch you show the papers, tear them, and fold them.

The secret merely is the prepared finale sign which is folded into a x 3$ package and used over and over. It is folded so that its center is the back of the finished package. A touch of paste on the back (better reinforce this part with a small square of heavy paper) of the packet allows it to be stuck to one end of the red tissue about an inch from the end. Over this is pasted a square of red tissue by its edges. Thus a pocket is formed inside of which lays the folded sign. Keep this in a pressed flat condition until used.

The paper pieces are shown carelessly at the start. Placed together, with the red at the rear and pocket to the left and on the perform-

etc.

nail dig opens the pockat and a final folding over of the edges towards audience takes place which leaves the packet exposed nearest performer. When turned over, and the audience side packet unfolded, the message stands revealed while the torn pieces are securely fastened to the center of the back.

The method may leave much to be desired by precise performers, and perhaps they can vary the manner of switching. However, this way of accomplishing the trick is clean and quick, and that's most important in effects where stress is laid on the surprise finish and patter. It may not be so mysterious, but it's amusing and entertaining.

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