I

Allow the ribbon to unroll and engage the middle finger in the thread. The ribbon now hangs in space apparently mesmerized by the mysterious passes made by the right hand above. Cut the ribbon in half across taking care to miss the thread. The bottom half of ribbon falls but is still held by thread. Cover this fall with the left hand. To cause the pieces to float together just slide the right hand along the thread and push the top half of ribbon down the thread until it touches the other half.

Concluding, snap thread and bundle ribbon into the flash paper. In taking the paper from the breast pocket you also take the prepared ball. Make a sleight-of-hand exchange of the two balls and touch the duplicate bundle with your cigarette and throw upwards. The (duplicate) restored ribbon is unharmed after the flash and comes floating down very prettily. Do not think that because I have been brief the effect is not practical. Anyone with magic at heart can follow my meaning and will also see the possibilities in this 'flashy' little item.

LIES! LIESI LIESI (Henry Christ)

In The Jinx #5 for February 1935 there appeared two methods for performing an effect popularly labeled 'The Lie Detective'. A spectator would read through a genuinely shuffled deck, lying at any time instead of calling the card correctly, whereupon the performer, at a distance and with back turned, would wax furious at such deception.

Mr. Christ approached me later with what he considers a better presentation and climax in the eyes of the audience. I quite agyee that this present effect will hold attention to the finish whereas in the former case (it's still a good one) there was an anti-climax in all lies after the first. Moreover, in the version at hand, there is much less preparation.

A card is selected, noted, and returned to the pack which is given a shuffle. The spectator takes deck and gives it several cuts while the performer turns his back. He instructs the person to deal the cards from the face down pack into a face up pile, calling their names as they appear. But — when the selected pasteboard shows up, the spectator is to lie. In other words, for once he is to disregard the truth, and Instead of calling a spade a spade or sultwlse, he is to call that particular card by another name. The performer, secure in his great knowledge of lying, announces that he will be able to detect a false note in the voice and stop the proceedings at such a point.

So it goes. And an audience believes it provided the performer presents it with sincerety. Everything depends upon a key or locator card. Personally I break the very corner of a card if using a borrowed deck and use it as a short. If I have my own deck the short card is already there. Have

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it on the bottom when starting. A card is chosen from the fan. Undercut about half the deck, have the .card replaced on top half and drop bottom half on top of this. Now cut deck just under replaced card, overhand shuffle a little over half of deck and then drop the rest behind the cards shuffled off. Give the deck to spectator aftd tell them fc& cut it a couple of times. As the key card is above the selected card, the performer hears it when it is called and knows the 'lie' is on the following call.

A second method is with the use of League Back Bicycle Cards. The wing reverse in the center of the back can be seen at a distance of twenty feet with no effort at all. The deck is reversed for the return of the card and the spectator may overhand shuffle to his heart's content. He is told to hold the deck face down and pick up the cards one at a time, look at them, and. call out their names. Then the card is placed on table, or on the back of deck. In this case, the performer faces spectator and knows the instant selected card is held up.

Patter possibilities are unlimited. At the moment it comes to mind that because of the publicity concerning Bruno Hauptman and his possible subjection to the mechanical lie detector, this might be Injected into the patter and prove of interest, as well as helghthenlng the effect.

801 N. Federal Ave. Mason City, Iowa April 30, 1935

Dear Mr. Annemann;

Having read your swell "Dead Men Tell No Tales" in "Sh-h-h--! It's a Secret," I conceived a third method which is certain and, in my opinion, easier than using a mirror. So far as I know, It is quite unique.

My first idea was to follow the presentation of the second method given for the effect, but work as follows: When stepping up to flfff?fffff assistant and pointing up and down column with index finger, run finger lightly along surface of slate. This will result in a slight streak of the chalk below the name written, and this identifies the dead name when performer sees slate

Fearing that the volunteer might catch this, I hit upon a more fool-proof method of working. When volunteer has finished writing dead name, the magi states that without looking at slate he will hand it to someone else who should I write a living name. Take the ttj ZZZZZZZZ? slate with left hand and in c „runsiering to right, right index finger rubs along surface and it in indetectatrle. When second person finishes he hands slate to someone else, etc.

Going further with this principle, I worked out a completely novel effect on the patter basis of Identifying individuals by their handwriting. There is a column of three numbers on slate. Three spectators each write a word before one of the numbers. Performer looks at slate and tells which spectator wrote each word, though his back was turned during the writing. Proceed with first person Just as described before. Ditto with the

second person only finger is extended a bit more than before. No trickery with the last writer. Now by looking at slate performer finds two slight chalk traces below word written by person #1 and only one Tinder that of #2. The method may not be the best but believe you will admit the effect to be different. Hope you may be able to use the ideas in one way or another in your 'Jinx.1 Respectfully

Note by Annemann - The methods explained are excellent as is the last and different effect. For those who may not have my book mentioned which is now only obtainable in the British Edition (knockers lay off this obvious plug because I have no interest ((financial)) in present sales) the effect was as follows; On an unprepared slate has been written six figures in a row. The slate is handed a spectator to write a dead name after any one of the six figures. This is done while performer's back is turned. Then the spectator is told to fill in the rest of the 5 spaces with living names. The performer takes the slate and while spectator concentrates, rubs off slate with a cloth. Now spectator reveals the dead name - the slate Is turned, and the only name left on slate is the one of the dead personl Two methods were given. Mr. Parrish however, has come forward with methods as good or better than those of the author. Moreover, he has doped out a truly different effect for variation.

TELEPATHY ON THE CUFF! (R. H. Parrish)

In many instances a- performer wants to present a two person effect of mentalism, but is prevented from doing so because of intricate codes and methods of communication requiring rehersal. In tills instance we learn of a truly simple way by which the medium (or party of the second part)is able to receive the desired information right In front of those witnessing the test. No practise is necessary on the part of the medium, and so it becomes an ideal 1 stunt' for those whose wives decline with vehemence to 'learn all that stuff.'

For illustration of the communications principle we shall use a more or less commonly known problem of mathematics. That is, to magicians. The performer with a pad passes to three spectators in turn and has their whisper numbers of three figures each into his ear. Each time he writes on the pad, and, after the third person has given the number, he is asked to add the three rows of figures and think intently of the number. The 9 principle is made use of here. The first row is written as given. The second row is written on the way to the third person and Is not as told, performer. Instead the performer puts down numerals which, when added to the figure above, will total nine. The last row is written as given and pad handed spectator to add. The performer remembers only the last row. From the last figure he subtracts 1 and puts it in front making a four figured number. Thus if the last number were 248 - he would know the total to be 1247. If 320 - the total would be 1319.

So far we have brought out nothing new. The performer turns his back while the spectator adds. During this short time he writes on the inside of his left shirt cuff, with the stub of a pencil, the total of the problem as he knows it will be. When spectator has finished, performer asks him to think of it and at same time picks up a slate and chalk which he hands medium. She writes, spectator calls out total, and she turns slate. It just has to be the same because she read it from the cuff!!

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One of the most novel effects that has come to my attention is that which follows. True, It Is a principle which is neither new nor original, but the application makes it something that will be of Interest whenever shown and allows of not a little histrionic byplay.

Mr. Robs on has long been noted for his ghost stories and horror tales tinder green lights and such so this emanation from an imaginative brain is excusable. Certainly the variation will be remembered above other forms of the principle.

You have six small cards like those Illustrated and on which are printed the words as shown. Your cards are exact duplicates of the ones here except for the figures on each. You must mark the five small

Murder

Vampire

Morgue

Frankenstein

Torture

Scream

Undertaker

Skeleton

Suicide

Banshee

Fiend

Strangle

Horror

Poison '

Corpse

Black cat

Morgue

Frahke ns te in

Witch

Trance

Undertaker

Skeleton

Haunted House

Hearse

Fiend

Strangle

Voodoo

Coffin 2-

cards so as to know which is which from the back. Dotting them Is a good plan but the best idea Is to have each of them a different color. You then can tell which are left from across the room or at a good distance.

Corpse

Black cat

Murder

Vampire

Ghost

Dracula

Undertaker

Skeleton

Haunted House

Hearse

Suicide

Banshee

Devil

Insanity y

Put the large card In your pocket and put the five cards on table face up. Ask a person to think of any horror word and to pick up and pocket all papers on which this word can be found. Immediately you reveal the word, or impressively (Rob-son revels in this)describe personal feelings.situations and thoughts until finally the meaning of the word becomes clear and you name it exactly. This is by far the best presentation.

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