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but after many years of travel and continuous effort to entertain I've only lately established contact with those contemporary friends who have passed beyond.

"Houdini? A lifetime spent in effort to subjugate locks and restraining devices to his will. Thurston? Cm who made the art of stage card manipulation something to he attained by his followers. Carter? An illusionist who sought the bridge between here and the hereafter. Tonight I want to show you how I have made up my own little bridge between where I am and where they are."

The wonder worker asks a spectator to step forward. The plate of padlocks is dumped loudly onto another container. The performer picks up one, hands it to the spectator, and says, "You can open it? No.' Not without a key." He takes it back, tosses it into the pile, and picks out another which ne hands the" volunteer. "Try that one. Can you open it,without a key, any faster than you could have the first?"

The magician accepts the negative reply in stride and turns to the audience, requesting and getting a second assistant. For the while he apparently forgets about the lock being held by the first man. "Here is a pack of playing cards. Thurston made a long to be remembered reputation with hie smart handling of them. I want you to shuffle them as much as you please."

The performer turns back to his first helper. Ke picks up the plate of keys. They are dumped into the cupped hands of this man and he is told to lay them out in a row upon the floor in front of himself. "You are holding one of the ten locks. Now you lay out ten keys in any order you please. Cnly one of those keys fits the lock you hold. I'll show you that the other masters of magic control this experiment and await my joining them."

The magician turns to the second spectator holding the shuffled deck. He takes it, lays it on the floor, has the spectator cut it at any spot, and the cut is held by placing one half crosswise upon .the other.

The performer now steps back and shows the dummy hand which has been resting upon the glass plate between the chairs. "Before Charles Carter passed away," he says, "this very close friend of mine studied the possibilities of life after death. He was a famous trickster and knew all about the chicaneries of mimical performers. Carter was my mentor."

The performer picks up the hand and gestures with it. "Charles Carter led me to believe that there was something far beyond trickery, and I want to show you now that he may be helping at to make contact with that world in which he is living with his closest friends, Thurston and Houdini."

The hand is placed on the glass inter-chair plate. It raps out a number. The "lock-key" spectator counts to that key « it opens the lock which he holds. Then the hand taps out the name of the card cut at by the second person. And then either of the two helpers may pick up the hand and look it over, as well -as the plate of class and two chairs. There is nothing to find, materially, for the shade of Carter has gohe. With him has gone Thurston and Houdini. Only Blackstone remains.

This trick has been a matter of routining. Ted Annemann wouldn't have wanted it but frr the story and presentation.

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mfgz as sisfcisrrs sa^H^a/ase ss out. Pick up any one of them (except the right ^ " to the spectator. Take it oack with the left hand as the right picks out the correct one and gives it in return.

The immediate switch of attention to the card selection is perfect misdirection regarding the free choice of a lock. The key later is chosen by hand raps, and people remember that the spectator had more than one lock in his hand.Taking the deck from the second person the performer adds the palmed card to the top and at once puts the deck face down upon the floor. The spectator cuts it at any place, and the performer complete« the cut by placing the lower half crosswise of the top half leaving it there for the present.

The performer picks up the plate of keys and tips them into the cupped hands of the man with the lock. He is told to shake them up and then lay them out in a row before himself. You watch and help with this, noting the position of the correct key. Mark it any way you choose. Uine is file notched on each side so that It can be caught quickly whichever side is up. Remember that the audience cannot see these keys closely, and the helper is too excited to look for small file marks.

You step to the back and pick up the dummy hand. Use the patter scheme at this point. Then say, "We'll put the hand on the glass and see what Houdini can tell us about your lock. I'm not going to ask you to name a number like two, five, ten, fourteen, etc. I'm going to leave it up to the master in the great beyond." You have thus cued to your assistant the position of the key in the row as laid out by the spectator. The last number you have named is TWICS the position number. In this case, the assistant knows that the position is seventh (half of fourteen).

The performer walks around the chairs once, holds out his hand, and the dummy hand visibly tape out (in this case) the number seven. He asks the first man to count to that key, and try it in the lock. The lock clicks open.'

Approaching the second person, the performer asks him to remove the top crosswise half of the deck and pick up the top card of the lower cut. This is a tried and true force for conditions such as this where the effect is the thing and there is no time for nor sense in making a selection complicated. The audience always remembers onljr that the spectator shuffled the cards and then cut them at any spot.

The hand is walked around once more and this time the performer passes his hands directly across frSm above and underneath. He says, "I'm going to name the four suits, Howard. Make a ffctT^^rSrai onTs£ Mjhe perfomer'continue s^ "Now te »^^e hand ~

^pH number of K.f^sJ^ - shows his card. Thurston has revealed itJ

And immediately, the performer asks bis two bBlners to pick up the hand, the glass. mov* toe c"ir£. "You don't see Houdini, Thurston, £ cStS?" he says. "Well, they're there, and

The working of the hand is all that remains to be disclosed. It is perfect for stage and platforms where it allows of the performer passing completely around it, and the passing of his hands above and below. One end edge of the glass has a tiny smoothe cut slit which holds a large knotted thread. The diagram illustrates how the thread then runs to a high point at the side and the end operated by the assistant. The hand is free at all times and placed on the

as shown, the performer can walk completely around the set-up and pass the hands directly ahove and below the glass. At the finish he picks up the hand, and his own hand passes across under the thread which disengages the knotted end from the glass leaving everything free for inspection.

TRAYiliifi B.B. iOW

A takeoff on the ancient coin (glass disc) into a glass of water, this effect didn't 6ound so forte, but when I saw it done, in between other card effects, I reversed my opinion. Ed.)

Five cards are taken from the pack's top and shown in a fan. A spectator names one of the five. We shall presume it to be the Ace of Clubs. The Ace is covered with a handkerchief and held by the performer. A shake of the hank shows the card to have vanished. It is reproduced from one of the magician'8 pockets.

Don't grimace now. A duplicate of each of the five cards rests in different pockets. The five to be shown are on the deck's top, left there during a dovetail shuffle, and not disturbed by a false cut. Then they are shown. The handkerchief is prepared by having a narrow and thin strip of wood (its length equal to the width of a card) stitched or stuck to the center.

In covering the card with the hank the card is held edgeways and allowed to catch just underneath the wood. Then the wood is grasped through the hank and at the same time the card is allowed to drop on the rest of the pack which must be scattered on the table below. Taking a hanging corner with his free hand, the performer flips the hank and the card has vanished.

"Did you see it go? Did you see where I put it? The Ace of Clubs, wasn't it? Look. Not one fast move in a deck. Keep it as a souvenir."

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The moves and actions have been clean. The hands have never approached the body. The freely named and vanished card is reproduced. That'3 all there is, but its pointednees is awfully effective.

PRICES/ OSCAR WEIGtE

After a standard four Ace trick, or two, this gag serves for a funny surprise finish. Most magicians do four Ace tricks (correct me if I'm wrong), so the idea shouldn't be unwelcome.

The four Aces lie face up on the table and the spectator is asked to indicate his choice of one by turning it face down. All note its position and then the remaining three Aces are turned over also. Three cards are first placed on the selected Ace and then the same number on each of the remaining, as in the prosaic effect.

Now three of the packets are gathered together and shuffled, leaving the packet with the chosen Ace. The twelve cards comprising the three packets are further mixed into the deck.

"Would you like to see those cards on the table become Aces?" questions the magician. Assuming that your man is a tolerant person, he will say yes. The cards on the table are taken and openly dropped on top of the deck. The end of the pack is riffled to suggest passage of the Aces to the top - and then the top four cards are dealt face up in a row, one at a time.

Instead of the four Aces, as might well be expected, the cards are seen to be lettered, a word on each card, and the message thus conveyed to the onlookers is, "NOT AT THESE PRICES.'"

That's the whole gag - and all you have to do is get four blank cards with bacx design matching your favorite deck, some India ink, and make as neat a lettering job as possible.

When the four Aces are on the table to start, the four lettered cards, in correct order, are on top of the deck. They may either be palmed on from a pocket or shifted there from the bottom. The Aces are turned face down and then the three top cards of the deck are pushed to the side with the left thumb. In squaring these up on the deck, the left little finger goes under the fourth card and the four cards are taken and placed on top of the indicated Ace. Three cards are actually taken for each of the remaining Ace6. Then the three packets are mixed together and into the pack. After asking the spectator if he would like the remaining cards to become Aces, take the last packet and drop it openly on top of the deck. This rids you of the last Ace, as there are apparently only four cards, and you are ready for the finish.

It has occured to me that this trick might be of value to table workers to make the illiberal patron "loosen up." though its subtlety is somewhat questionableJ

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