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T astly we think The Jinx must be getting around. The "^January issue was out on the tenth and on January 17th Sophie Tucker, who graced the Rudy Vallee hour program from coast to coast broadeaated the age and money trick contained in that laaue. Miss Tucker is an enthusiast of the first water and waa made a member in London on her laet trip there.

aome of us pick professions because of what they are, °«nd some because of what they earn. Very few are able to combine both aims. The Amerioan Society of Mechanical Engineera met in New York last month and in the report was listed in order the professions assuring the highest incomes In return for investment in education. The paragraph that caught dqt «ye read, "Any profession or trade loses its income-earning value as soon as people become familiar with its secrets." Ihe list would have been too long had it been carried down to magician's incomes but it strikes me that If the greatest of professions recognize that paragraph as faot, why oan't dumb, bellicose magi who strain to get their name in print over explanations of maglo get Just a faint glimmering of the harm they do. For the most part they are disappointed aspirants to fame. It a case of 'Where there's no hope, there's no feeling.

THE RED AND BLUE BACK COLOR CHANCIE. ' (Annema"n)

TTThen I first worked out this arrangement and then ade it into a oumplete Item by itself, I found that I had literally fallen upon a very odd possibility. Since then it has become a fast favorite, and I have fooled well versed card men with it because of its' subtle working points.

rp he exact effect is as follows: A pack of cards is held In the left hand as if for dealing but the faces are outward towards the audience. Taking the two face cards openly from the deck with right hand, the performer carelessly shows them both faces and backs calling attention to the fact tnat one of the cards has a red back and tnat the otner is blue, flaolng them on face of deck again, he slowly turns over the face or first card, shows color of back, and then openly drops the card to the floor where it lands face up. He then slowly shows tne next, or second card to have the opposite colored back and this Is likewise dropped several feet from the first. Ihe audience is asked now to tell which is which and the performer allows anyone to turn them over. The backs have changed places although the faces have not.

no fake cards are needed for this. Use your own deck with only two extra cards from the opposite colored deck. They may be any cards. Ihe subtle part of the effect Is that in turning tne top card each time to show the back, the face of the card underneath can be aeen, and when this top card is dropped to the floor, the next card la the one -Just seen wnlch gives the lie to any possibility of turning more than one card,which is exactly, what you do!

to rom the face of pack towards back, five cards are * arranged thusly:

1 Any red backed card

2 Any blue backed card

3 Any blue backed card

4 Duplicate of #2 above but with RtD back

5 Duplicate of above but with RED back Remainder of the RiD backed deck

At the start the performer takes off the two face Acards fanned in rlgnt hand and states that he snail use tnese two cards, the --- and the --- ¿calls their names) and states tnat one has a red baok and the other a blue. In speaking he shows the backs carelessly a couple of times WHICH DGii NOT lilVK AwXONE THE CHANCE Ob' SEEIiO JUSI 'fidICH CARD IS WHICH. He drops them baok on pack in the same order and says that he will now show them slowly so there can be no mistake as to which is which. Ihe right thumb at lower rlgnt corner of pack lifts THREE cards and the break Is held with the left little finger wnlch is at that spot on the long side. Calling attention to the name of the card, performer with rignt thumb and finger at this corner slowly turns the card over on face of pack (really three cards aa one) letting the turned cards rest half way off pack on end nearest body. Right thumb and finger again turn the cards at lower corner as special attention 13 called to the back of card being BLUE, and as one they are then squared on deck with face out. Thus you have slowly end apparently shown tne back of the face card. The left thumb deals the top card about half off side of deck and it is taken by edge with right fingers and is dropped perfectly flatwise and IT WILL NEVER TURN OVER BUT DROt STRAIGHT TO THE FLOOR i'ROM Ail! HEIQHTH!

Could anything appear more fair? In the slow turning tne spectator was given tne opportunity of seeing the face of the next (apparently) card underneath the one being shown. Thus when tne top card is dropped off tne next card IS THE O.iE THBi JUST SAW! Of course, no attention is called to that but It registers on their mind every time and if you don't think so, just try having another oai'd there from the one seen during the turning!

The first card has been shown BLUE and dropped. Vilth-out a move, attention Is called to the new face card and tne back of this Is also shown, three cards being turned over as at first. Then this face card is dropped apart from the other on floor and the effect is over as far as you are concerned. The same tnlng happened this time when the card underneath the one being turned over was seen and It is right there when the face card Is dropped off.

t t only remains for the operator to have spectators

A name t.ie positions and then let someone turn them over for himself. I would advise If possible for you to use such cards so that to the spectator the BLUE will apparently be a black spot or face card whereas the RED baok will be a red spot or face card. This will help them remember and make the change more real. I have had some forget and then say they weren't sure which was which. 3o be sure to impress upon them the oolor that goes with the face of the card each time.

SIIH SIGHT UNSEEN. (L. E. Duncanson)

I am about to describe the workings of an effect that I have proven to be a veritable 'stunner' 'when correctly presented as all things must be. It is totally unknown and as the audience views it, there Is nothing more to be desired unless it is genuine clairvoyance. Regardless of how It may sound at first reading, I oan only ask that It be given a fair trial. That is little enough to ask in a case such as this.

First take a small mirror of any nature but preferably not over an inch and a half In diameter. I want first to give a rough idea of the principle and possibilities which have never befor been realised.

Qtaixl with the feet about three and a half inches °apart and lay the mirror on the floor between them at the insteps. Standing straight look down into the mirror. Lean slightly forward If necessary and hold your hands behind your baok. Take a playing card in your hand and look again. No matter what you hold you get a picture of It when you look downward. Now, if you are standing sidewlse to your watohers, tne mirror oan in no way be seen and yet they oan see your hands all of the time. So much for that. The next thing is the detailed explanation of its' use and operation In this effect.

A sort of ankle wristlet Is prepared from any material and on tne order of a wrist watch strap. This is placed on ankle about three or four Inches above trouser edge and on inside of ankle. On the strap Is a small eyelet of metal or cord. Now two small mirrors are secured from any ten cent store and are fastened together, back to back. To the mirror is fastened a length of black flshllne or heavy cord. This runs up through the ankle eyelet, up trouser leg to Just above seat where it is threaded through to the baok with a needle. It now goes about six incnes longer and a little black hook Is fastened to end of thread.

TXThen this is pulled down In back, tne mirror Is then pulled taut against eyelet on ankle and out of the way. The hook is then in place at Just about an lnoh up under back of coat. Now you are ready for work anywhere.

"graving the hands tied behind me I have found best, and generally a borrowed handkerchief is used. The fastening isn't necessary but afterwards it will serve as a reminder that your hands couldn't possibly have been brought to the front at any time. I now pick out my location where I can stand in front of audience witb eitner side towards them. Always face according to whichever ankle the mirror Is attached. This should be on the inside of leg nearest audience. I have my feet about three Inches apart and side by side. Turning the body slightly towards audience for a second I ask that one of them use their handkercnief and bind my wrists behind me. At this turn, my fingers in back release the hook and the mirror slides down between feet into position on floor and as eitner side is a mirror it can't go wrong. At once the left foot pivots a little on toe, the heel touches right foot and the mirror is completely hidden under insteps which prevents spectator who is tying wrists from ever seeing it. After this the spectator also blindfolds you with another handker-cnlef which however, does not prevent you from looking downward.

vase and simplicity are paramount from here on. The cards are handed you and you proceed to read them as desired. The mirror remains hidden until wanted and by slightly moving the heel you get a picture of what you have behind you. Xne blindfold prevents anyone from seeing you look downwards also. The test with a watch is very effective but in all cases remember tnat your hands can be seen and therefore act accordingly. Keep turning the watch or article over and over as if trying to feel out the Information that you give. It will easily be seen that wltn tnls principle the tests are unlimited. At tne finish your actions are practically the reverse of tne beginning. I generally ask that my hands be freed for the last test as I need more freedom in handling the slate that I use for figures and letters. Then, after revealing these items, I turn my body a little towards the audienoe when revealing the last few items and right hand holding slate masks the left as it pulls down cord and at once I oan turn around freely and pull off blindfold as I am in the clear. I can only say that from constant use of this effect I am in a position to KNOW the attitude of your aulence towards it.

THB SOLUTION OT 'SOMETHING TO WORK ON.

Tn the January issue I published a letter received

* from Vlnoent JJalban of London In regards to an effect for whloh he wanted a method of working. I offered a year's subscription for the best solution and sat baok to await results. Fourteen different contributions came in much to my gratification and I turned them over to Stuart Robsen, a much too avid amateur for his own good, to select the best of the lot.

Q harles * Nyqulst of 1405 Falrmount Avenue, St. Paul, v Minnesota was selected as having sent in the most practical method so The Jinx is certain of one reader for twelve ooples to come. Follows a resume of the effect and the method.

a member of the audience shuffles a pack of cards and Athen, while the performer's back is turned he deals the cards slowly face up on the table, each time calling aloud the name of the card dealt. Occasionally he deals a card he calls the name of another but whenever he does this tne performer pulls him up at onoe. THE PERFORMER SEEMi TO Kl.O'.'i WHEN THE MAN IS TELLING A LIE.'

Tji or the working of this novel effect use a set up * deok. It may be eitner tne well known Si otebblns system of three ahead or the equally much used Eight Kings Threatened To Save, etc. etaok. On a small card the performer has written in one column this are the 52 cards In their proper order according to the system of stacking in use. This is in a vest pocket.

p lrst the performer may false shuffle the deok if he

- is able and genuinely outting it hands it to the spectator with the request that he give tne deck a dovetail shuffle. This 13 genuine on the opeotptor's part which makes the effect so very strong. Or.: • one shuffle is given the deck though by spectator a i then a cut. Now the performer explains what is to be done as described in the effect above.

rpurnlng his back, the performer walks away, securing A the card from pocket. The spectator turns over a card from top of the face down pack and calls It aloud. When this card is called the performer places his left thumb at that point on the list. When the next card is called it will eitner be the next card or one about 26 cards away. Locate the beginning of the second series with the right thumb. Ihe cards turned up will then fit into either one of these two series and always* be in order.

TTTlth proper instructions the spectator will tell the **truth for the first few cards while the performer is getting started. When tne oan 'tells a lie' make hlai tell the truth before going on. This not only increases tne effect but aids the performer in following his list.

as this is a mental experiment, a mistake will be Aexcusable but with care a mistake is unnecessary. After catching him in three or four lies it Is best to stop. The audience is convinced of your ability and repltltlon will become monotonous. If carried too far he may think of dealing from the bottom and catch you. The theme can either be mental or strictly as lie detection through the sound of the voice. This latter is more novel and convincing.

THE LIE DETECTIVE. (Stuart Kobson)

A fter r®adlng the contributions in search of the one most suited to practical use Mr. Robson bloomed fortn wltn a metnod totally different from those sub-

Bitted, nearly every one had a stacked aeok and either used the dovetail shuffle principle in one form or other or made a switch of decks after shuffling, lir. Robson s method is cute and simple and may appeal to many.

make about ten cards from the deck and stack them to suit so that you are well acquainted wltn the order, fasten a large paper clip under the back of your ooat. It should be Just high enough so that when the ten cards are In it they will be about an Inch above coat edge.

jjave the remainder of the deck freely shuffled. The missing cards won't be noticed and the performer takes them back and explains what is to happen. He asks a spectator to step forward and explains that he is te hold the deok behind his back and with right hand bring forth one oard at a time and lay it face up on table. He is to call tne name of the card each time and whenever he feels the urge to lie, to do so. «hen the performer explains this, he suits the words by action and when he puts deok behind his back for a seoond during the explanation the ten cards are added to the top.

Q eldom will the person go beyond three or four wlth-

out lying but to play perfectly safe the performer can first have the spectator think of two numbers fro« one to ten and then tell him tnat when he deals the oards to lie about the identity of the cards at these numbers. This will give the performer two chance* te oatoh him which is plenty for the effect.

ed the performer steps up to then and holds out hie left hand and the spectator puts the paper which they have folded on the performer s pala. At once the right hand oomes up and thumb is plaoed on top of paper as left fingers close over it. Right thumb pulla Itself out of this sort of loose fist with paper between thumb and first finger but it is really the blank pap* er from Inside tip which is left behind in left flat with the real slip underneath. The left hand drope te side as the slip in right hand is openly handed another spectator to initial and hold high in view. All of this is a natural move and should be worked easily ant smoothly.

JJow the performer walks away and left hand goes to left coat pooket while he remarks about a question being written and held while he shall try a feat of automatio writing. It only takes a seoond for the left fingers to open the slip against the papers in pocket and come out with them. Taking a blank piece from the bottom, the performer at this point has a perfeot opportunity to read the question on top of this pile and they are immediately repocketed leaving performer with a single slip of paper and the knowledge that he desired.

Qn this piece of paper he now writes a suitable but direct answer. This he crumples and gives still another person to hold. Returning to the man who is holding the question (?) the performer takes it and opening it reads aloud the question. He Is really read ing a blank piece of paper but he knows the question having Just read it on the slip now pooketed. Turning to second spectator after reading the question aoud, the performer asks him to stand and read what he, the performer wrote. It la the answer! This is the ollmax and performer has crumpled and pooketed the blank slip he has Just apparently read.

A QUESTION AND THE ANSWER. (Annemann)

T t would be easy to call this a super effect. I have used it continually and from the audience the working could not be simpler. I think also that I have lr-orned out any unnecessary moves or excuses that generally mar such effects. The practical performer always thinks of how he would present an effect if he were a genuine thought reader or maglolan. Starting from that presentation, the effect is worked out as near as possible to resemble It to the audience without using excuses and moves that make the working ridiculous. So please look at this from the eyes of the man out front and not from your side of the lights.

paper is produced and the performer asks a spectator to write some question to which he would like an answer. The spectator proceeds to write it and folds the slip. It Is initialed by another spectator and held in full view. At a distance the performer takes another piece of paper and writes something on It. He crumples this up and hands It to a spectator to hold for a seoond. Returning to the person holding first slip, the performer opens it and reads tne question aloud. The second spectator now stands and reads what the performer wrote. IT IS A DIRECT ANSWER TO THE QUESTION!

"I?ffects as simple as this will always appeal to the practloal performer. The only material needed is a few pieces of paper about 2 by 3 inches, a penoll and a thumb tip. Fold the papers once the long way and then twloe the otner way. Suoh a folded slip will fit into the tip nicely. Have one in the tip and keep it in the rlgnt lower vest or trouser pocket. Open the rest out and have them in the left side coat pooket and you are ready.

CI tart by selecting someone to write the query. Take the papers from coat pocket and giving them one put the rest baok. Vihlle they write the question the right hand secures the tip on thumb with the folded paper inside under the ball of thumb. When they have flnlsh-

A NEAT PUBLICITY TRICK. (Nat Scherzer)

a ny trick ever invented or conceived can be redressed "■and ohanged at will. The strange part that doesn.'t seem to be realised by many is that even a change in the routining will make an act or trick look different to a layman. Instead of a name, use a number and on another occasion use a picture. It may be the same trlok but it looks differently.

J] nvelopes are used In this case Instead of cards. It sounds simple and is but where cards might be used and passed off as an old story, the use of envelopes In this case makes it a new and novel mystery to be remembered.

TJ ee letter envelopes tnat have gone through the mall but have been opened carefully at ene end without mutilating It much. About seven or eight Is plenty aid all of then are addressed to different people in different oltles. It wouldn't be hard to oollect quite a lot of these from magloal friends around the oountry.

Qarry them around and you are always ready. Full them out and toss them around to be looked at. New write something down on a pieoe of paper, fold and let someone hold it. Staok the envelopes, fan and have one selected. They read the addresa on the front and you have prophecled it correctly! Simple? Certainly, but the effect is neat. Just force the envelope anyway you please, straight fan foroe is always good. Or have 8 envelopes. Four are taken and you eliminate the four that don't contain the one you want. Then lay thea out and force by the 'between one and four' method. Use your Judgement but don't think for a minute it isn't good.

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