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TOffMiS re QVâtl

Since magic seems to get harded and harder to book, why not go in for an act in which the sleight-of-hand or effects are not so much the integral part of the performance, but rather an incident? Keating subordinated his tricks to patter and personality, and Mulholland has done the same with his lectures. Think this over.

Be a little particular and see that no bulge may be noticed in your dress suit or Tuxedo. Don't think the audience will not notice this or that. All under the coat apparatus should be painted a dead black or covered with black cloth as a further precaution against flashes in turning. Too many performers still make an entrance as a stout magician, and exit looking like a starved trickster.

I mentioned sometime ago the possibility of having various fakes constructed, whenever possible, of stiff leather instead of metal (for instance pulls or handboxes). Many fakes not possible of such construction, and which require metal strength, can be covered with felt, and some even padded. If such are by accident or design dropped, they will not "talk".

Principles that are utilized in one effect can be applied to others. This seems to have been neglected to a considerable extent, most every magician thinking that he is compelled to present the effect embracing that principle the same as described in the directions, or as some other magician doe3 it. As an illustration of adaptability, tho perchance not a very good one, an amateur magician around New York has fitted up a lead pencil with the Anti-Gravity Wand principle. Get your wits to work and figure out a few - it will pay.

Study to make your moves natural. Only the real top-notchers of the profession have learned this well. Rarely does one see a "pull" secured gracefully and naturally. Henry Dixie did it exceptionally well. (Jinx No. 10) In the Vanishing Cigarette Dixie took the case from his hip pocket, lit it, returned the case to pocket and in so doing----Get that I The top of the trou-

ser pockets is another place. It's not unnatural to place the hand in the pocket and then ---

Get that too! Cardini has reached perfection (or very close) with natural moves. The ball appears, and as his eyes open in surprise the monocle drops. The right hand picks it from the point where it is hanging and replaces it in his eye, but --- he ha3 the next ball! Have a natural gesture or excuse for your actions. Then, magic becomes an art.

Don't stall, for your own 3ake. It's disastrous. If you have not a sufficient number of tricks to do the length of time required get more. If you haven't more do a shorter turn. Nothing annoys an audience more than stalling and a lot of unnecessary talk. Get to the point -that's what they want to see. It's better to work too fast than too slow.

Thinking about that last paragraph and also about magic being incidental reminds me of one who enters, talks at least three minutes, and vanishes hl3 wand. I think it far better to use the wand during several tricks, and, it having served its purpose, vanish it in an offhand manner with no comment. In such a case you are not a magician presenting a trick for the audience to figure out, but a master of magic to whom such things are common occurences and "something that seems to happen whenever you are around." Then your'work becomes impressive.

I had this note to use a long time ago in previous editions of this series, but thought I might be laughed at. Since then I met a fellow who, in freezing weather, got to an engagement with icy hands and had to work with stiff fingers. Warm woolen gloves, whether they are in style or not, are a decided advantage. You won't have to thaw out, and the detail may save you an Important show, and return work.

Mever pun on a person's name, and don't use gags about deaf, blind, insane or stuttering people. Too many have afflictions themselves, or in their Immediate family. The same holds good about puns and jokes ridiculing any nationality.

If you entertain children, stay away from any trick in which something Is placed in the mouth or burned. Children always try to do a magician's tricks after he has left. A1 Baker has successfully entertained children for many years, and these points come from him.

There is a mystlfier in New York to-day whose magic is pediculous when compared to others of the craft, but he steadily works the best places because his manner, diction, and enunciation are "tops". Class audiences will put such a person on a far higher pedestal than an even more clever magus who hands them "dese" "dems" and "dose" while wetting his thumb every time he deals a card. They may be perfectly willing to admit such a person is "very clever" but their sensibilities are antagonized and they'll turn away.

Very few realize the poor psychology of allowing the audience to learn how many assistants are employed. Naturally, it is necessary, at times, to have one, two or even three on the stage at one time, but I fail to see the need for more. The fewer the better. I saw one line up as many as eight for what he considered a "flash." Good night! Would not a real magician be able to everything alone, or practically so?

When manipulating cards under colored lights leave out the red cards. Jack Merlin used 26 black cards only. You can also make up a deck of all black cards and it shows up much better.

Don't use a Bible in your act. This thought comes to mind because I saw a performer do a book test with a bible wherein the page was selected by a dagger, the line by a deck of cards, and the word by a throw of the dicel There are too many other kinds of books, and using a bible for a trick is bound to offend someone.

Paae 162

rONLY AH IMAGE. (Eddie Clevor) 1

Asking everyone present to think of a card, the nentalist passes around a small pad upon which several write their thought of cards one under the other. Someone else takes the written on 3heet, secretly crosses out any one ox those thereon and pocicets the paper. The performer states that he will not make the card appear, but rather will take a thought photograph or thought image of the Card marked out. Showing a blank playing card, it is placed on a spectator1s left hand face down, and their right hand used as a cover over it. The person who crossed out a card is asked to concentrate.

After a moment, the blank card is looked at and a faint Impression seen which is of the Ace of Spades. The spectator who crossed out a card says this Is wrong, whereupon the performer asks who was thinking of the Ace of Spades. Someone raises their hand and the performer tells them not to think of their card now as they are shutting out the influence of the right card.

To further isolate the card it is placed in a small envelope and again held. This time when it is looked at, a clearer Impression has taken the place of the Ace of Spades, and found to be the oorrect card.

In working, it will be found that this effect makes a good imnression because it is different, regardless of the method. On the bottom side of a small pad write a list of five cards. With a hard rubber eraser rub lightly over the faces of these five cards removed from a deck. This causes them to become somewhat faint and ghostly. This clever idea was originated by Larsen and .'/right in their book, "Take a Card".

Now rub over the Ace of Spades until It quite faint yet may be seen at a little distance. The five cards are placed in the back portion of double envelopes. Bridge size cards fit the usual drug envelopes and may be trimmed slightly to make sliding in and out easy. The Ace of Spaces is not one of these five. Flace envelopes in your right side coat pocket in known order.

With a few corner aaubs of diachylon (lead plaster) wax stick the Ace of Spades to the back of a blank card matching the five cards In the envelopes. If you can't obtain a blank to natch the cards, rub out the entire iace of an Ace of Clubs or Diamonds. On the back of the card case place a few corner and center daubs of diachylon, ¿.lost card cases have the back design on tham.

Ask everybody present to think of a card, which :.ianeuvre makes practically certain that one or more in the place will think of the it.ce of Spades. .Jith pad in hand and blank side up, pass among the audience and have five persons writs the names of their thought of cards. Many time the .ice of Spades will be among these, but it doesn't matter as it is just as startling wh<sn someone else is found to be thinking of it.

In going to the sixth person, the pad Is turned over, and of course one of the five arranged cards is crossed out. You have turned your back as this is done, and ask person to tear off the sheet and Keep it. There is no danger of them turning the pad over. (Editor's notes Mr. Clever r.-tust have found this fact out by experience the same as did ur. Janes in this issue's trick. I do know that no one has turned the pad over so far with me. If you're a little skittish though, just tear off sheet yourself and hand to person to cross out a caru and keep.)

..fter card is crossed out, you remove the blank card from card case (excuse for having case in hand) and freely show it perfectly blank, i-lace it face down on case for a second as you tage mark an X on the back in a comer. (I neglected to mention that the back of each of the five cards in pocket has an X mark.) The oard case is held in left hand with fingers inside to make a more solid base, and enables you to press blank card to back of the waxed case. The top card (the faint Ace of Spades) Is then pushed off with thumb, and the card oase tossed back of you somewhere out of the way. This is a perfect get-a-way. Flace the card on someone's hand and have them cover it with the other.

The person who crossed out a card concentrates and when the apparently blank card Is shown, a faint Impression is seen of the Ace of Spades. Ask if it is right and at this point, allow it to be passed around. Fatter, "I seem to feel conflicting thoughts. ,iho has been thinking of the Ace of Spades?" When someone acknowledges this tell them to keep it out of their mind. If, by chance, no one does acknowledge it, just remark that someone must have thought of It and has now changed their mind. Rarely, however, will this be necessary. Now say, "To make sure vie don't go wrong again, what was the card you crossed out. The-----? Thank you. Now will everybody please think of that one card. This time we'll isolate the card a little better."

Remove the correct envelope from the pocket and seal up the card. After a moment, tear off the end, pull out the other oard half way and let spectator remove it. This time a better impression is seen of the correct card, and the faint impression of the first card has vanished.

This is almost a card trick without cards, at least, card in their accepted sense. One might ask why not have 52 cards in envelopes, but such a thing has been tried and the packets are too bulky to be real practical. This can be introduced at any time in your program, and gets away from the usual procedures with decks of cards.

Having a spectator name aloud any card in the deck, the performer removes it, shows it, and proceeds to punch a quarter inch hole In the top edge. It is shown both front and back and then hung, back out, and by the hole, on a pin head in the lapel of performer's coat. Taking another card as his own, the performer shows it first and punches TWO holes in the top edge. This card he likewise hangs from a pin head in the opposite lapel. Upon command the two cards apparently change places for now the spectator's freely named card is on the opposite side with two punch holes and the performer's card likewise has traveled across and has but one punch hole.

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