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auite easily worked is this routine because it needs only a stacked deck, ,i.fker the three cards in a bunch are withdrawn from the decic, and while spectator is giving two of them to others, the performer picks up the deck, cutting it at the point where the cards were removed and leaving it face up on table, ihus the medium, upon return, can glance at the face card and instantly know, because of the system, the three cards removed. Naming the suit of the first card (all three will be different) this person stands and has his c&r.d named. The same thing happens with the second. Each time the performer steps up to the person, takes their card from them and shows it around. On, the second card, however, he takes it and showing it around as before just happens(?) to stand in front of (or behind) the person holding the last card. Thus the medium knows whom to describe In bringing the feat to its cute climax.

7#o*ey ixtfre Pocket

¿Tack Vosburyh

Effects which are Impromptu are always popular, especially when they a little out of the ordinary and very clean from the start to the finish. While not startling, this coin routine is simple of execution and appears like real magic.

Borrow a quarter but have the speotator note the date before giving it to you. It is openly folded in the cloth of your right trouser leg above the knee, and after the donor has felt it there, the fold is dropped and the ooin has vanished whereupon it is produced from the trouser pocket. Once more it is done, and after being felt vanishes with your hands obviously eng>ty. This time the spectator himself reaches into your pocket and takes out the coin which is cheeked aa his own.

Vanishing moves for coins are rarely original these days, but the routining of this effect is what makes it a clever addition to lmproiq>tu repetoires. It is only necessary to have a quarter In the right trouser pocket before starting. Borrow a quarter and have the date noted. Lay It on the trouser leg just over the quarter in pocket and draw up a fold over it. If you will try this you will find that the right thumb can be under this coin (both thumbs are inside fold and fingers are outside) and as the fingers of both hands press this fold up over coin the right thumb can draw the coin to the right into right fingers while their tips hold the edge of the fold in place. The spectator is asked to feel the coin, but really feels the coin in trouser pocket. The fold is allowed to drop and the coin has disappeared, the right hand going directly to pocket where it leaves the coin In hand and brings out the one which has been there. Immediately upon the producing of this coin, ycru say that you will try again. Start the make the same fold but accidently (?) drop the quarter. Pick It up with the right hand, tout at this point it so happens that your right foot la close and In the picking up motion the coin Is dropped into the right trouser cuff. The hand comes up as if holding the coin and the left fingers make the fold as before, while you ask the spectator to feel the coin again. He does, and once more feels the quarter in the pocket. This time, when the vanish is made apparent, the hands are seen,absolutely empty, and when the spectator reaches into your ppcket he finds his own quarterI

J/te 2.0^ Centuru Slate Jest '

Jean HuqascL

Jean Kugard has a clever and subtle method of handling a flap in this effect and I know it will find favor with not a few club and close-up workers. All In all, the general effect has not been changed much lnasfar as a message or name or something appears on the slate. l<ir. Hugard's subtlety consists of making the conditions appear more strict by the application of a piece of newspaper cut to slate surface size. After showing the slates as usual and rubbing off the sides if deemed necessary, a piece of newsprint Is stuck to one side of one slate by its corners with bits of wax.

Unbeknownst to the audience there Is a duplicate piece of newspaper stuck to the slate itself and covered with the usual flap. Under the paper stuck to the slate proper is the message or revelation. The paper the audience first sees is dutifully stuck to the flap and the two slates placed together. Mr. Hugard gave me no definite excuse for the paper but I suggest that patter be formed regarding absolute darkness being necessary and because failure has resulted at times when slate frames were not exactly true and even, the paper will circumvent that.

Concluding this bit of patter, the performer opens them again and has a spectator (who is later to open the slates) initial the paper with a crayon. Of course, he initials the real piece, the flap having been dropped to the other slate. "Back together, the slates are held by him until it Is time for the climax. The performer opens them, and discards the slate bearing the flap. The spectator identifies his markings and he himself removes the paper and finds the message. This leaves the slate and paper in the audience, and the evidence of trickery has been done away with.

Page 87

Wore Higher Ufaqic auite a few nice letters were received after I printed the instructions for the stamp on the ceiling effect in The Jinx for October (No. 13). I've never seen the following idea in print and it was first explained to me by John Northern Hilliard in the fall of 1933. It takes quite a bit of practice to get onto the knack of it, but once mastered and when you have confidence, It will cause great comment wherever you do It. The effect consists merely of burning a common match from end to end and then tossing it to the ceiling where the burned match sticks and actually hangs by Its head.

Doing it quite a few hundred tines in the past two years 11ve found that it will work with common kitchen matches, paper matches or safety matches equally as well. However, the ceiling best suited for it Is the kalsomined type. The first part is to burn the match entirely to a piece of charcoal. Light the match with the right hand and hold it with head up for a few seconds to thoroughly burn the head out, and then, as the flame travels down the match towards fingers, wet your left thumb and forefinger and very lightly apply to the head of match to cool it. Thus you can then hold at this head end while the other end of match bums out. There must he a good amount of moisture applied to the head but not enough to orush it. Now lay it on the right fingers parallel with fingers and with head nearly to the end of fingers. Judge your distance to the ceiling and with an easy but long sweep let the match fly up. Let your hand stop when about pointed to the corner of the room or where the wall meets ceiling. The slightly heavier weight of the match head serves to take this end upward and you'll find yourself looking at a burned match hanging downward by Its head.

Just keep trying it until you get the hang of It. It is what I had to do but the effect has been worth it many times over. X can't add to the above instructions in any way except to say it will take a little patience and experimenting. You'll be crazy about it though when you do it.

~7he tlitra Slate Wesscxje

Dk Jacob OctLf

Good methods for the appearance of spirit (?) writing on slates are many, and there seems -to be no end to ideas. The method explained here was shown me by one of the cleverest of amateur magic fiends and it has supplanted my present almost impromptu method.

In his hands the psychic has four pieces of silicate of the flap type. With a handkerchief or dry cloth he casually wipes the upper surface of the top piece, turns it over, cleans the under side r.nd puts the cleaned slate on table. This Is done with all four pieces of silicate in the most open and easy manner and then all four are spread in a row. The spectator is asked to indicate any two of them, and two are laid aside. Two are picked up, put together and the spectator may hold. Upon sliding them apart, nothing is found. A few moments later they are separated but still nothing is found. Finally, on the third attempt, a real chalk message completely covering the entire side of one is found and all four pieces may be left with the sitters.

Exactly one simple move makes this whole thing possible as well as perfect. When the four pieces are being held in the left hand, the message is on the upper side of the third slate from top. Dr. Daley uses pieces of silloate 5x7 inches as the most practical size. The left little finger holds a break between the third and bottom piece at the start. The top piece is cleaned and then turned over with the right finger and thumb at the lower right corner (Inner), When this side has been cleaned it is slid off and dropped on the table. The top surface of the next slate Is now wiped off and the same man-euvre is made but this time two pieces are turned together as one! In short, you merely make a two oard turnover with silicate flapsl The newly presented surface is cleaned and the piece slid off to table. Therefore the underside of this second piece carries the message and the remaining two pieces are cleaned in the same manner as the others.

On the table are four pieces in a row, and In the most open manner all have been cleaned on each side. The spectator indicates any two. No matter which ones he taices, he must or must not include the message slate and the performer either keeps the two indicated or lays them aside and proceeds to use the remaining pieces. The message ■late is dropped on top of the other and the two held. To look at them the first time, the top one is slid off with right hand but nothing has been written on the upper side of lower slate, and the piece slid off Is put back on the bottom. Agala they are held (message is on bottom of lower slate) and this time the top piece Is opened out Ilk* a book but still nothing has appeared. This top pieee again Is put underneath the other and in handling them to spectator the two are turned over. This time when slid apart, the message looks directly up at them. Once used, I think this method will be found highly effective and practical. X certainly like It and have found It to be one of the cleanest methods of whldh I know.

Automatic Seconds

Hamf J. Smith

There has long been a need for a simple and deceptive way of dealing seconds. This method was devised to fill that need, iake a sharp razor blade and slit along the long edge of the closed end of your card case at the opposite side to the flap. Make the 3lit exactly along the crease of the cardboard and it will not be noticeable. Sometimes the whole end of the case will open out when you do this. When this happens, a couple of daubs of glue on the side tabs will remedy the trouble. Now, if the eards are put in the case with their faces towards the flap, the thumb oan shove the top card back through the slit until Its outer edge is hidden by the case.

In presenting a trick with the prepared case, a card Is chosen, replaced and shuffled to the top. The performer explains that he will prut the cards In their case to prevent any possibility of manipulation. He does so, secretly shoving the top oard through the slit as just described. The left hand grips the case from above, fingers at the left side and thumb at the right, with the hand far enough back to conoeal the projecting oard. The little finger rests on the end of the card, ready to shove it back into the case.

A spectator is asked to name a number. The thumb of the right hand pulls off cards from the top of the pack until one less than the number named has been reached. This is easily done by gripping the cards through the cutaway circle at the end of the oase. As the right hand comes up for the next card, the left little finger shoves the chosen card in flush with the end of the case, and the right hand pulls it out and shows it to the audience,

Two or more cards may be controlled in this way as easily as one. Simply shove a small bunch of cards through the slit instead of but one. It does not matter if more than th$ correct number are shoved through. When you have produced the first card, throw it out face down and ask the selector to pick it up and identify. While he is doing so, turn the case over so that the cards lie against the side on which the slit is, and with the first finger of the left hand push the top card - or cards - back through the slit; then continue as above. As a variation, cards may be spelled out letter by letter, using their own names or the names of the selectors.

Parre 88

Three men apply for a vacant post. The prospective employer liking each applicant equally well, proposes a test.

The light will be extinguished and the employer will mark a cross in chalk on the forehead of each man. He has chalk of two colors, blue and white, and the cross may be either one of the two.

The light will then be turned up and any man who can see one or more blue crosses is to stand up.

THE! ALL STAND UP.

The employer then asks if any man can state the color of the cross on his own forehead. After an interval one man states that the cross on his head is blue.

HOW DID HE KNOW?

The fact that all the men stood up shows that there must have been either two or three blue crosses. (If there had been only one blue cross, the man bearing it would not have been able to see a blue cross and therefore would not have stood up.)

If any of the three men could have seen a white cross he would AT ONCE know that the other two must be blue, because there must be at least two blue crosses for all the men to have stood up.

The fact that there is an interval before anybody speaks shows that nobody ha3 seen a white cross. Therefore the man knows that the cross on his own forehead must be blue.

(Editor's note: The moral of this brain teaser is-read 'Annemann's Complete One Man Mental and Psychic Routine' and have a convex mirror reflector.)

Jest of Power £ddie. Cleuer

In the book "Sh-h-h—! It's a Secret" by Annemann Is an effect where the spectator takes ten chances to find the performer's card and fails, whereupon the performer takes one chance to find the spectator's card and succeeds. The method as explained used an impression device, but this improvement in procedure for gaining the information simplifies it and may make It more desirable an effect for many. The subject is asked to think of any card in the deck and write it on a slip of paper which the performer hands him. This is folded and dropped into a glass or placed in full view. The performer now writes something on a piece of paper which is placed elsewhere. The deck is spread face up on a table and the spectator given ten chances to pick out the performer's card. He falls. The performer now spreads the cards faces down, picks one card, has the spectator name his thought of card, and it is right.

Used are three pieces of paper, a deck of cards, and the simple finger switch of papers which is too well known to need much discussion. The performer has them in his left trouser pocket to start. One is folded and the other two open. The two opened pieces are removed and placed on the table. One is handed spectator for the writing of his card after which he folds it. Meanwhile, the performer has secured the dummy in left hand from pocket and taking the folded slip from spectator switches and drops the dummy in the glass or in view. Immediately picking up the remaining open Blip from table, the performer writes his own card's name down, folds, switches for the spectator's slip and drops this in view, retaining the slip upon which he has just written. And the card whose name performer writes is on top or at back of deck (and may be any card).

Spreading the cards from left to right faoes up, the performer does so that the last card or two remain hidden, at the end. At this time the spectator's slip is a dummy, the performer's slip belongs to the spectator, and fingerpalmed in his left hand the performer has his own slip. The spectator now indicates face up cards, one at a time, and the performer says 'Ho' after eaoh until ten have been selected. Scooping up the deck the performer hands it to spectator. Picking up his paper (apparently, but actually the spectator's) the performer opens it and calls off the name of his own oard, and reads the name of the spectator's oard belongs to the spectator, and fingerpalmed in his left hand the performer has his own slip. The spectator now Indicates face up cards, one at a time, and the performer says 'no' after eaoh until ten have been selected. Picking up his paper (apparently, but actually the spectator's) the performer opens it and calls off the name of his own card, and reads the name of spectator's card at the same time. He refolds the paper, switches, and tosses his own paper to the audience to verify, retaining the spectator's slip Just read. 8cooping up the deck, the performer hands it to the spectator to verify the presence of the card in deck. However, knowing the spectator's card at this point, the performer scoops up the deck in bunches which enables him to leave the spectator's card on top and which action transfers the performer's card to centerJ The performer now spreads the deck face down and picks up one card which he places face down on spectator's outstretched hand. Picking up the spectator's slip (really the dummy) the performer switches and opens the actual slip which he reads and hands still open to the audience. The spectator turns his card on hand over and it is the samel

On paper this routine may souirf. a bit complicated but it isn't. Prom the audience viewpoint the action is direot and nothing is done of an untoward nature. The theme is interesting and different from the usual card problem. And when the spectator is picking out cards in an effort to find the one thought of by performer the Interest holds. It is all presented as an example of how difficult it is really to find a chosen card, and when a person can't pick it with ten chances and a face up deck while the performer does it with one chance and the cards face down, the point should be provenl

Page 89

The Jinx is published monthly for magicians by Theo Anne maim, Waverly ^m New York, U.S.A. Jg

By the copy, 25 cents. By subscrip- tM tion, for 5 issues postpaid. The *t Jinx Extra is a semi-annual at £¡1 per copy. No subscriptions.

Order through any magical depot or direct from the publisher above.

Of all the cíaselos of magic, the "flying ring« effect is one of the prettiest. In this masterful method however, NO FULL OR BODY ATTACHMENT IS USED. The effect is juat the same as with the original version wherein a borrowed ring passes from one hand to the other while they are enclosed with handkerchiefs, which also may be borrowed. Follow the instructions as given here and you'll have one of the nicest program effects you ever have used.

Duplicate a wedding ring in the five and ten cent store. Good imitation« are to be had there and with this in your right vest pocket, two men's handkerchiefs and two rubber bands complete the preparation. Place the two handkerchiefs on the table hanging over the edge and with the two ends on table close together. Get the ring on your first finger and keep this finger folded into palm. Go into the audience and ask for the loan of a wedding ring. Have the owner slip this ring on second finger of your right hand. Go back to the front, picking up a gentleman on your way to accompany you and help. He is to be quite a distance from owner of the ring. As you go to the front, bend in second finger and extend the first.

The assistant removes the ring from the first finger, it being natural, and he never suspects the vise of another finger. As repeated performances prove, neither does the owner. Stand with your right side to audience as you have ring taken. Tell him to hold ring tightly in his fist. Walk back to the table and pick up one of the handkerchiefs with right hand. AS YOU DO SO, POSH THE BORROWED RING UNDER THE TIP OF THE OTHER HANIKERCHIEFI This is done in an instant and is NEVER DETECTED! Hand handkerchief picked up to spectator with a rubber band. He lays ring in your hand (duplicate). Then tell hi» to cover your hand with the hank. As he does you hold your arm up and the ring drops down your coat sleeve! He puts the band around your wrist to bold the handkerchief. As he does this, pull up your right sleeve which prevents the ring from dropping out should you forget and lower arm. Let the audience get a casual look at your left hand v/hich is empty.

Go over and piok up the other handkerchief with left hand, grasping the ring under tip as you do so. Have spectator take this handkerchief and you olose your left hand into a fist. This hand Is covered also and banded. Hold the hands far apart and coranand the ring to travel. Remember that up to now no one knows what is going to happen. They have no reason to suspeot a thing being wrong with the left hand as the misdirection is quite perfect. Have the assistant remove the handkerchief from right hand. The ring is now gone! Thank him and dismiss him. Now walk directly to the person who loaned the ring, keeping the left hand high in the air. This person removes the band and handkerchief and finds their own ring!

You will find this perfectly practical in working. In the pull method only one ring is used but the effeot IS NOT any better. The pull method is not easy to set, it sometimes la noisy, and there is always the possibility of losing half of one's shirt during the journey of the ring. Don't manipulate the hands during the effeot. Don't call attention by 'flashy' moves that the hands are empty. They should be 1 The audience will never have any reason to suspeot otherwise. Just give it plenty of practice to make the routine smooth. You'll wind up with an effeot you will be proud to perfora.

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