Main Page

of th* coins 1« let go of and caught by the left band, as your right side Is to audience, the coin flying thru the air and being caught by left tend will be masked by handkerchief In front of it. Baa handkerchief Is now pla&ed over the coin in left hand and handkerchief Is twisted «round both of them. From here proceed m In the first method.


Mr* Zhao Aanwaann •averly, Hew Ink

Dear air»

The unfortunate combination of scotch blook plus a gradual infiltration of scotch liquor may be held responsible for the following idea.

I Imagine the construction and technique of the ordinary changing tray in use for the substitution of a pack of carda Is known to all.

Trying to apply this idea to a less stagey looking object than a tray and also, what was more Important, make a saving of the three bucks that the magic depot la only too glad to receive, I thought of gluing the cover of one magazine on to the back of another. Phis worked well enough to satisfy and the sum cost of the apparatus was only a dime since I had a magazine at home and all It was necessary to buy was a duplicate issue. This is fine In ones own home, but if you pick a magazine out of a rack when out, and your host doesn't recognize It, — well!

I overcame this by using the back or advertising page. This I have found Is perfect. One of the drawbacks to my original plan was that if the magazine used is a pulp, they generally have such covers that people are tempted to thru them and that is very annoying.

The additional benefit to the latter method Is that no expenditure at all Is necessary since advertiaers generally have the same ad on the baek of the periodical for a few weeks hand running.

I think that if you use this method it will be found subtle enough for the deception of the nest carping.

¿ours truly

Bruce Elliott lurid riffle




Here is an effect which is original with me ana one that has been reposing In my notebook for several years, ky idea orielnally was to market it in the usual fashion as a dollar secret, but those days are past.

All you need is a packet of <30 or more blank carus, but I prefer at least 35 because it makes the handling easier. Hand them to a spectator and ask that they use any one of them. Take back those left and ask the person to think for a moment of a relative or friend who is not living. This name, (first and last) they are to write on ona side of the card and keep it writing aide down. The card is returned to the packet of blarucs and a spectator shuffles them well. The performer now takes them and as he drops them off top, one at a time, the spectator who wrote is asked to apell the dead name letter by letter. As the last letter is reached, the performer holds the card at which he has arrived. The spectator repeats the name and the card is turned over. It is the dead name card and everything is left with audience!

If my reader doesn't consider that a different and effective bit of business I've been sadly fooled by the number I've done it before, .then torn apart It la nothing but a card spelling trick in a weird dress. Some may prefer doing it with blank playing cards because of the ease In manipulation but I don't agree with this because cards of this type give the impression of a card trie* immediately. My safe and sure method has two variations depending upon the performer's desire for cleanness. After the selection of a card I would take back the rest and hand spectator a pencil. Turning back while he wrote,. I'd cross arns and exchange the packet for one trinned a little narrower. Don't maice them shorter aa tney are shuffled at ends. Have card returned and nixed by spectators themselves. Now take them (always being careful to have packet kept right side up throughout) and as a further bit of mixing cut several times and bring the wide*card to the top. Cut one more card on top of this maxlng It second down. Do this carelessly while telling of the affinity between the card written upon and the deceased person and how differently it now vibrates from the rest, as you ask writer to spell aloud letters as you deal, gesture with hand holding packet and turn it completely over. No difference can be seen. Now deliberately deal a card each time the spectator gives a letter. I have never had any trouble icnowing when the end of the name is coming up and as you deal off the card for the letter third from last, leaving two to go, turn the packet over aa you put card down. That la why it is best to put each card down with a deliberately sweeping action. Now the dead name card will show up on the last letter.

If the reader desires, he can cut the dead name to the top, turn packet, deal off until last letter has been spelled, and then allow writer to take off the "¿EXT card, turning the packet over as you approach him. I don't recommend it as attention Is focused on you at the last minute and the other version is clean at this point. If the reader doesn't care to switch packets he can previously trim one a little shorter and force this card on spectator for the writing. I have used this when doin c the tricic impromptu with a packet of business cards but still Dre-fer the switch because of the freedom allowed spectator at all times, however you do it though, you'll find that here is an effect away from the usual run and one that will excite comment.

The Jinx is an Independent monthly for magicians published by Theo. Annemann of Taverly, ". Y., U.S.A. It can be obtained ilrect or through any magical depot, for 25 cents a copy, »and by subscription is £1 for 5 Issues postpaid to any address In the world.

In my estimatil™B^his effect is one of the most novel to conclude the program of aiiEnagician. Picking up a sheet of paper about twenty inches square andrxolding it rather carelessly as he talks, the magician asks a spectator for the time. We shall assume it. to be 1:28. Putting the paper behind his back, the performer tears out bits and tosses them to the floor. Finally the paper is brought to front and opened against a black background. TORN INTO THE SHEET IS A CLOCK FACE, THE HANDS ON WIIICH INDICATE 1:30! The magus naively remarks that it has taken two minutes to do the tearing and that time is always marching onl

Obviously, this is one of those EFFECTS which will be performed in a different manner by each performer. Some may prefer to cut the paper v/ith scissors instead of tearing. Regardless of this point, the effect is accomplished through a substitution of papers so that no individual skill is Involved. Mr. Clark used this effect in vaudeville where the running time of an act Is seldom more than a minute or two either way. It is the writer's belief that any club routine can be gauged to within ten or fifteen minutes which makes this practical for use.When you have ascertained your approximate starting time, havS on hand say five of the dials v/ith the minute hand at five successive numbers which allows you twenty minutes. Many will no doubt make up a supply of dials minus hands and merely tear them In at the last available moment. Another out which comes to mind at the moment is for those who may use th3 trick as a routine trick rather than as a closer. In such a case they will merely use the effect during that period for which it is set. So, whenever the spectator names the time, it Is necessary only to exchange the paper in hand for the one set at the next closest five minute interval and use up approximately that amount of time in the apparent tearing. This tearing or cutting should not be precise or too artistically perfect in accomplishment. And please remember that it is more a clever effect of skill rather than a mysterious trick.

For the exchanging, individual genius may again be brought to play on the problem. Mr. Clark used a double chair seat under and around it being the prepared papers folded Into packets about three by six inches in size. After folding and tearing the plain sheet, it would be drawn over the seat edge to further crease into a small package, and at the same time left behind whi.le the correct one was pulled forth. My own 1-dea for this is to have a background of black cloth mounted on a wooden frame. Across the back at the bottom, and about five Inches deep, is a loose piece forming a pocket. On the back of this piece of cloth are enough pockets to accomodate the necessary prepared dials. Have this in (I'm sorry, but you'll have to turn back to Page 114)

Copyright by Keith Clark Vienna (Austria) — 1931 (First time published)
0 0

Post a comment