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Very graciously received were the Impromptu Frsune-ups collected and put together last month. Several more have come up since then and I'd like to make as complete a file of this type of trick as possible. I will give a period subscription for every one that is sent in that I can use. There should be some fairly In genious effect worked out through use of this subterfuge so think about it seriously for a little while.
JINX Number Eight, for May, will contain a compiled list that I've worked on for over six months and thought about for two years. To the best of my knowledge it is tne first time such a list has been put together and, being one man's opinion, I expect it to be the beginning of a controversy. It isn't an overnight concoction though so I'll stick to my guns with plenty reason behind all selections.
THE "EIM" CARD CHANGE. (E. Leslie May)
For a c.ulck close up and Impromptu effect this one Is hard to beat. It is far from being complicated and that alone helps make it great in the eyes of the victim-
Selecting a card freely, the spectator initials the face and it is replaced In the pack. The performer now selects a card, Initials It and shows it to all. This he places in hie own pocket and the deck is given the spectator to hold. This person now attempts to say where the two initialed cards are but he Is wrong. The deck 1b looked through by himself and in the center he finds the performer's initialed card. Then the spectator himself removes his initialed card from the performer's pocket. It can be done anytime with any deck.
Giving tne deck to a person, tne performer asks them to shuffle and remove a card. He takes the deck as they Initial their choice. Holding the deck face down on his left- hand he takes their card face down with his right and explains that to really put the card Into deck at random he will do It behind his back. Both hands go behind back for a second and then left brings deck back out with card sticking out about an inch around center and this Is now pushed in and lost. Actually however, the chosen card was dropped on TOi of the deck and any card near center pulled out a trifle,
Remarking that he will now take a card, the performer turns over the top card of the deck, really makj lng a double lift of the top two cards. He initials the face up card, letting everyone see it. Now, while this card is still face up on deck in left hand, the right shows the right trouser pocket to be empty. The double lift is again employed and the face up card Is turned over. Then the left thumb openly pushes the toj card over and the right as openly puts it in the right trouser pocket. Carelessly cutting the deck once it Is handed the spectator to hold.
Questioned as to the location of the cards the spectator will always be wrong. He is told to look over the deck wherein he finds the performer's initialed card. As a finale he reaches into performer's pocket and finds his own.
Editor's note: I might suggest that Just before the deck is handed spectator to noid.the top card, ^the performer's card) be reversed or turned over in getting it to the center. There are many standard moves for this. Then later have spectator spread deck out with the backs up and the performer's card will appear face up and be Instantly found in a more startling manner. It seems to me that having spectator fan over the deck is not so good because he will be looking for his card and performer will have to reveal what has happened in order for spectator to locate the right card.
For the opening and closing of a short card routine Included in any act 1 nave something new to work on. It would make a smart and modern frame within which could be set a series of moves and manipulations and it would provide the most necessary start and finish. The first part has been written up soaewhere but
?the last part has not been figured out. I'll come through wltn two subscription periods of ten issues for the best solution, or split it between the opening and closing effect if the k. occasion warrants.
Upon entering tne performer shows a single sheet of tissue which he places between two tambourine rings about seven or eight Inches in dla-neter forming a druihead. Showing this on both sides he shows rignt hand empty back and front. Plunging this nand through tambourine from the back to front the hand appears with a fan of cards. The cards are taken with left hand while right tosses tambourine aside.
Several minutes later after moves, sleights, etc., the performer makes another tamoourlne in the same manner and again snows it to be what it is. Laying it on the table the deck or cards that have been used are openly dropped inside tne container formed by the inch wide rings and the paper bottom. Picking the tambourine up flatwise it is held away from everything, then turned slowly so that bottom faces audience and Is seen unbroken, and again the hand is plunged through and tambourine cast aside. The cards have been both produced and vanished via the same route.
Keep away from wells if humanly possible. Twist the effect as much as you like as long as you retain the tambourine production and vanish. Try to make this a stunt for a smart act where tables and wnatnot are not generally used. Now It is up to you.
A PRACTICAL CARD CODE. lOrvlUe Wayne Meyer)
Many times I've been asked for a good practical method for coding cards. I've always been a believer in verbal codes for real practical work. Of course, there are times when a silent code can be used to good advantege but for general use I advise the verDal type and have any number of reasons to back up my views. When Mr. Meyer sent in the following code I liked it at once and think that many will make use of it. Certainly , the wife or sweetheart who Is invariably cajoled into assisting won't be able to use the common excuse that there is too much to remember?
LAÏOUI OF COPS
"Tell us" "Now tell us" "Tell me" "Now tell me"
Diamonds Clubs Hearts Spades
12 3 "Yes"
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