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spectator who reads the ad is not the one who cut the ads out, any difference of type, etc., will not be noticed.

In copying your ad on slate, put 5 words to the line. This makes it easy to count to the desired number quickly. If you use paper pad instead, tear off top sheet, crumple and pocket after first mistake (?).

Any envelopes will do, hut end opening coin envelopes are best as audience does not think they are transparent. Also when asking for a number be sure that there are that many words in your ad.

If spectator touches the wrong envelope, let him withdraw it. Then have two other spectators pick envelopes, forcing the marked one among the three. Then, using "conjuror's choice", force your fake from among the three. It is added evidence of freeness in selection but I have yet to fail with the method described.

iORlY-NINE CH AS. X JORDAN

The performer turns his back while a person among the group watching shuffles his own deck and discards three of them to leave a pack of only 49 cards.

The spectator now thinks of any one of the cards he holds, ana deals them into seven face up heaps from left to right, a card at a time. He announces which pile, counting from left to right, holds his mentally chosen card. Though the performer's back is turned, he says that he thought so, requesting the spectator to pick up the heaps by putting the 7th pile onto the 6th, the combined two upon the 5th, they on the 4th, and so on.

To make certain, however, the performer asks that the face up pack be dealt again into seven piles, a card at a time to each from left to right. Again the spectator names the pile into which his thought of card falls and the magus says he is quite certain of the card's identity. The spectator collects the heaps in order as before and turns the pack face down.

Turning around for the first time the performer has the spectator deal off a card at a time from the face down pack. At a sudden command to stop dealing, the performer turns up I the spectator's selection, even though he never has seen the face of a single card in the packl

The method by which all the foregoing is accomplished depends upon simple calculation. After the first deal the number of the pack his card is in gives you the number FROM THE FACE OF THE PACKET HE NAMES AFTER THE SECOND DEAL THAT HIS CARD WILL LIE. If his card is in the first heap dealt on the first deal it will be the face card of whatever heap it lies in after the second deal. If in the second heap (first deal) it will be next to the face of its heap after the second deal, etc. When he names its heap on the second dead you merely figure its position from the back of that heap adding seven

Page for each heap that will go behind it when the deck is assembled, these of course lying over it when the deck is turned face down.

Suppose his thought of card lies in the third heap on the first deal, and in the sixth heap on the second. It must then be third from the face of the sixth heap, or fifth from the back of that heap. As five heaps will go behind it, we add 35 to 5, its position from the back of its (sixth) heap, and we therefore know it will be 40th from the top of the deck when same is turned face down.

CliViR COINS MI MO GRANT

This is one of those subtly simple methods for producing, not a too startling effect, but one which will appear very clever and quite mystifying to audiences of the more intimate type.

Two small plates and two bowls are at hand and the performer shows ten coins on each of the former. These are set upon the bowls while the magician explains that he will be very slow in all of his actions to prove (?) that he is not attempting deception by sleight-of-hand. Thereupon he tips the plates allowing the coins to fall into their respective bowls. Continuing the movement he turns the plates completely over so that they act as covers for the bowls. Then each bowl and its cover plate are turned over together, each plate with a bowl inverted upon it (after this last move) being a distance from the other.

Saying that everything is to be left entirely to chance, the wizard produces a penny matchbox from which he dumps two small dice into the hands of a spectator. The person drops them back into the box which is closed. Then the spectator himself gives them a thorough shaking. The box is opened and the top side numbers on the dice noted.

The performer reminds that this number has been chosen by chance. He commands a change to take place, and openly lifts the two bowls at one time. The chosen number of coins have silently travelled from one plate to the otheri

Presented as a strange feat witnessed on the curbstones of a dingy little street in Bombay, the individual performer can dress the effect into a delicately mysterious and oriental spiced affair. Not gaudy, not bizarre, not gigantic, and not a spectacle. Just as odd occurance from strange quarters — the old, old world.

The plates and the bowls are unprepared. 20 pennies are at hand, ten on each plate. However, three of the pennies on one plate are secured safely to the surface by using a bit of wax or diachylon under each. Let us call the prepared plate No. 1 - the other No. 2. They may be resting atop the bowls at the start, the plate No.l to the left.

The performer states that 20 coins are used and apologizes for not having genuine rupees. Or possibly he may be artist enough to secure the proper coins for atmosphere. Picking up plate No. 1 he carelessly picks up loose coins and lets them fall onto the plate, separating them when he asks a spectator to count and say how many are there. The plate then is put back onto its bowl and the same thing gone throu^i with plate No. 2. Ten coins are counted on each.

Asking that all watch him carefully for any quick motion which might give rise to a suspicion that sleight-of-hand is being used, the performer tips plate No. 2 towards him so that all the coins (except the secured 3) fall into the bowl. The plate then is carelessly put under the left arm for a few minutes while, with his right, the performer tips plate No. 2 in the same manner to dump its coins into its bowl.

This plate No. 2 is used in any gesture the performer may make as he says, "Each group of ten coins now rests inside its own bowl. Theri can be no material contact between the two resting places." This action serves to unconsciously impress that the plate is empty of all coins. It is then placed bottom side up to cover, not bowl No. 2, but bowl No. 1. The performer keeps on talking, "And to further isolate the monies, we shall cover them even from above." And during this the plate from under the arm is deposited upon bowl No. 2. This is the plate, originally at No. 1 position, which has 3 coins secured to its surface.

At this point the match box and dice are brought from the pocket and the selection of a number left to chance. We shall describe this bit further on. For the moment let us say that the number thus chosen is "three."

Dice out of the way, and with everybody convinced of the fairness of selection, the performer commands the passing of coins ~ silently. He picks up the right hand bowl and plate, turning them over together, lifting the bowl as the plate rests right side up on one hand, and the bowl is passed to a nearby spectator while the performer asks another to count the number of coins on the plate. At this moment he says, "Remember that no one, not even myself, touches the plate's top, or the coins. I want you to realise that something far beyond mere trickery has taken place before your eyes." That prevents inopportune grabbing of the money. The spectator counts thirteen pennies.

The plate is put onto the table. The left hand bowl is picked up, turned over as was the first, the bowl handed carelessly to someone near, and the coins on this plate dumped into another spectator's hands.

"We found three extra coins with the others," says the performer, "and unless they came from someone's pocket they should be accounted for here." The spectator counts his pennies onto the plate so all can hear. Seven! The mysterious crossing has taken place once more.

The matchbox and dice? It's all so simple, yet clean. Four dice are really used. Two are glued to the bottom of the drawer near one end, the two tops showing an Ace and Deuce which total three, the number to be forced. The other two dice are dropped loosely into the box. The end of the drawer nearest the glued dice is marked by scratching so as to be determined at a glance.

The box is shown, tipped so that the loose dice fall to the unprepared end, and about half of the drawer pushed out so the dice may be dumped onto a spectator's palm. He puts them back, the drawer is closed, arid the box is given

Page him to shake well. Taking it back the performer gives it an extra shake to bring the loose dice into the unprepared half of the drawer, and then with the box level, the drawer is pushed out half way to reveal the glued dice which another spectator adds and reveals the total. It'8 all very fair and much on the up and up. There isn't a false move or quick motion.

(Note by Annemanns When Minoe, frcm India, and Grant, from New England and New York, can get together with the former's coins and the latter's dice, tocsins should ring for the unbelievers. I- would like to offer the suggestion, though, that 12 coins be used on each plate and four made to pass. The dice would read Ace stnd a Three. 12 coincides (?) with the highest possible total on two dice and the performer can say afterwards, "You'd never believe even one coin cOuld pass silently. When scmeone throws a double six occasionally, it's really awe-inspiring to 6ee the transposition of the entire 12 pieces of money." I'd also make a practice of not fastening the coins down too hard. Then they could be scraped off with the fingers in picking them all up for the pocket, leaving the plates as well as the bowls on hand for any spectator prowling. I might even have a duplicate match box with two loose dice should anyone ask for it to test a few throws.)(You might even be able to write a trick yourself someday instead of waiting for two other people to get together and do it. Ed.)

EDITRIVXA (continued from page 510)

The best way to find out if your words are read is to write something wrong. You'll never get praise as readily as anathema. Our "proudly poked laugh," as one writer put it, at the Winston Freer levitation (JinJfc No.76) seems to be bounding back like a lusty yodel's echo in the Swiss Alps. But if anyone, including Frank Lane, thinks I'm going to leap from precipice to precipice in an attempt to escape the ear-splitting reverberations of my own shouting, he had better climb onto the floating gadget and thank his stars that Freer, and no one else, is operating the controls. In short, it seems that the stunt is actually possible and we are out on a limb at such an angle that seven hoops may be passed around us in as many directions. V/e have been informed of Freer does do the that he is wont to night clubs while ble. All well and be consistent by not consider it of least to any per-

the "fact" that Mr. trick as stated and perform the feat in standing on the ta-good. We may as v/e 11 asserting that we do practical value, at son other than Mr.

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