Long ago someone thought of vanishing a glass of water ftrwn a thin glass topped table just large enough to hold it and a pitcher- The filled glass simply was left behind the pitcher as the handkercl iief containing a ring or disc inside was brought to thé front of stage. Through the pitcher, the glass of water left behind was invisible. To prevent even possible suspicion of the hiding place I have combined it with a wine and water beginning, and vanish a glass of wine.

To the pitcher add half a teaspoon of strong solution of ammonium sulphocyanide (poison), in the glass put a couple of drops of iron perchloride (steel drops). Take a small glass tube and affix a wire hook so it can be hung on the back of the glass. Pill with a solution of oxalic acid. Have pitcher and glass side by side with folded hank on glass.

Tell of bootlegging and speakeasy days during American prohibition. Put handkerchief over arm as would a bartender or waiter. Stand behind the table. Pick up pitcher in right hand and glass in left. Pour a glass nearly full of water and it changes to rich red wine. Put the pitcher down at center front of table. Whip off the handkerchief with right hand and throw it over glass. At this time as you adjust the hank the tube is picked up through the cloth and dropped into the wine which immediately changes back to water under cover. The left hand lowers the glass to the table behind the pitcher as you step around to the right of table carrying the form to the front very carefully to avoid spilling. And thus is vanished a glass full of wine with no place for it to go. The bartender has foiled the law, and no one suspects it can be hiding the transparent pitcher. Impossible.

modern monte chris chariton

The "three card monte" effect has stood the brunt of many variations. Without boasting I consider this one of the cleaner, quicker, and more convincing ways which a performer may use impromptu at any time with any cards.

From a deck being used the performer asks that three cards be removed, preferably two spot cards and one picture card. They are handed him, and he uses nothing more.

If the magician is adept at this game he may "throw" the card6 several times in the regular n>e+hod and then resort to the following idea as a climax, saying that perhaps it will be a lot easier for everybody if the cards are kept face up for most of the time.

The three cards are held face up and squared. The left hand does this by holding the group from above, the four fingers along the left side and the thumb on the right side. The forefinger rests at the pip of the exposed card and the lower left corner of the set rests in the crotch of the third and little fingers. The thumb rests about an inch and a half from the outer right end of cards. Thus the left third finger, underneath, is in a perfect position to execute pressure on the under card. It will be seen that this is about the same as the familiar "glide" sleight, except that in this case, it is more "practical for the under finger to exert a little pressure back AS THE THUMB AND FIRST

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TO experiment with this sleight perform the move and remove the two top cards as one by grasping them at the front end with right thumb and forefinger. Slide them under the card (apparently two) left behind in left hand. Keep repeating this over and over until you do it with no concern or hesitation. It will be seen that the three cards show up, one after the other, in what appears to be a normal rotation.

Take the cards given you (we shall call them Jack, Nine and Three) and say, "I'll show you the cards very slowly, and ask that you remember their positions. When I turn them over face down, pay cldse attention that I don't do anything to deceive you." Keeping the set in whatever their order may be, hold them as described and call the value of the face up card as you FAIRLY move it to the bottom. Name the next card visible, and FAIRLT move it to the bottom. Name the third face up card that comes to view, and FAIRLT move it to the bottom. The first card comes back into sight, the left hand is turned over the bring the packet backs up, and the right fingers deliberately spread them into a fan. "Where is the ——?" you ask, naming the last card shown and moved to the bottom before the turn.

There will be no hesitation on the spectator's part as he selects the top or right hand card of the face down fan. And he will be right.

Remark, "I asked for a spot card that time as they always stay pretty well where they belong. Picture cards, though, exercise their noble per-ogative and are hard to depend upon. This time watch the Jack." As you've said this, you've cut the packet so that the Jack is at the bottom of the face up heap, or on top of the face down cards. Hold the three face up and name the top card as before. THIS TIME YOU MAKE YOUR SLEIGHT AND TWO CARDS AS ONE ARE HOVSD TO THE BOTTOM. The Jack comes into view and in turn is named. Again you make the sleight, transfering two from top to bottom, and the other spot card makes its appearance. Do the move for the third time and the first card comes back to the start. Everything is at the beginning and the cards are turned face down and fanned. The Jack should be in the middle, but it isn't. Just show the middle card, when chosen, and then square the cards without showing the Jack, putting the revealed spot card back on top of the face down set.

Offer to repeat once more. Turn the packet face up and go through with the three "double" moves. The Jack now shows up third and after being named is moved (two cards) to the under side. The packet is turned backs up and fanned. This time it should be at the right end, but it isn't (it's in the middle) and the three cards are handed back to the spectator with the deck for shuffling into the next trick.

i/ost and iound j.e.wheei/er

Many card effects have a sound beginning and weak ending while others are built just oppositely. For that reason this pair of ideas should be found welcome. Together they make for a clean and complete novel discovery. Separately they may be used either for a force, or for a finale,in conjunction with other effects.

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