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WITH ONE HAND. (Annemann)

Should I merely say "force" a card anymore when describing a trick, guns would roar and moans be heard for a long time (that's because I suffer easily and to excess). Not satisfied with my head-bending efforts when I put together '202 Methods of Forcing' the customers wreck vengeance upon me everytime I mention 'force' and do not include a variation or new twist to those that have gone before.

With that trite excuse I reveal an honest-to-goodness pet of mine and one that I've used constantly for nearly three years. It's only a combination of two known principles but I am sure I have eliminated the faults of each by the combination. It was only a few years ago in 1921 or 1922 that Conrad Rheiner of Philadelphia printed his Touch of Mephistopheles. This was the much copied behind the back force of a single card. Having force card on the bottom to start and with the deck behind back, the performer would have a spectator cut off a bunch. Turning the performer would mention the impossibility of his knowing how many had been removed and during this interval he would shift the bottom card to top of his packet. Turning back the spectator would be asked to take off the next card and keep it. Later this method was varied by allowing the deck to be shuffled and the card added to lower half from under belt where it had been secreted. Then Larsen and Wright improved it a few years later by palming off the top card behind back in right hand and holding this palm under and against back of left hand which was holding the deck. After shuffling and placing on hand, the working continued as above.

My variation isn't new by any means. I found that the one fault of the above methods was that when performer turned for the important second it was impossible to shift the card without a visible motion of the arms. They always know something has been done. Outside of that the turn is all right. I figured to eliminate the fault by operating with one hand.

Next coses to mind the force in which half the deck is turned over bringing the halves face to face. Cards 'to go' are on under side. Cards are counted to one less than a number named, deck secretly turned over and the next one taken. Vary by having a portion cut off and the next card (after turning) from lower half chosen. The fault here is the turning over move. It's one of those things that just can't be done without it being apparent that 'something' has taken place. Even wild arm swings and 'haywire' gestures won't hide this fact to the onlookers.

We now combine the two and intrigue as well as fool the audience and the magi. Have the selector stand on your right. You face the audience and he does the sane. Take deck and shuffle. You must have the card to be forced on top or bottom but must wirei up with this single card on bottom and turned face up against bottom card. Deck can still be given a dovetail shuffle or two without revealing the turned over card. Lay deck on left hand and tell spectator that a card is to be selected and neither he nor yourself will see anything that is dor». Putting your left hand behind back, he is told to reach behind your back with his left hand (he can't see what he is doing) and cut off a bunch of cards. He does so and as he brings them out you say, "You know how impossible it is for me to know how many you have cut off. Now reach back again and take the next card for yourself." But during the Interim you have merely turned the deck over and he gets the force card. Immediately he has this one card you turn deck back and left hand comes out with it and tosses it on table. The whole maneuvre is executed with one hand and there isn't a bit of lost motion. And after the selection there is nothing to do in order to fix deck, turn over extra cards, or monkey with to make it unprepared. It is.

IT GOES THIS WAY. (Annemann)

Performing with a one-way deck has a drawback that doesn't seem to have been appreciated by performer's in general. This point however, makes itself apparent to the watchers after a trick or two and I'm surprised that the Idea I'm writing of hasn't popped up before. To offset my various bad faults when working I have one good trait I am always certain about. I AM ABU3 to judge an effect upon an audience and visualize myself in their position. I can always figure close to what will be going through their minds in following the actions of a performer and that may be one of the reasons why I have had such good luck (so far) in merchandising the various bits of business I have written.

When a performer makes use of the one-way back principle he must always maneuvre so that the backs can be watched. That's elementary. But I yet have to find a card man using this principle who doesn't make apparent his scrutiny of the backs In watching for a card to show up. This registers every time (and don't you think it doesn't) and although the spectator may not know anything about it all before or after, he does know or realize that the backs have been watched. I wish I had a dollar for every time the remark, "Are these cards marked?" has been passed during work with a reverse back. I wouldn't have to keep chain letters going. With all due respect to that master book 'The Art of Magic', the book that Introduced one-way backs; a performer is a fool who attempts tricks with a white dot reverse. There was a time when that white dot was the same at both ends on Rider Backs. Then the reverse was a broken cloud line and to me, the silliest trick In the world was anything that depended upon 3uch a mark.

League Backs tell another story. It is the fastest reverse back in existence and brings to mind that famous Tex Rickard remark, 'You never seed anything like it.1 But even this super back isn't practical for constant use because of the reason in the first part of the last paragraph.

My extemporizing Is a lead to the following. Why not make a FACE REVERSE to combine with that on the back? I did it. I tried many ways at first. I fanned cards slightly and let them lay in the sun for a few days to discolor. I tried a chemical wash to discolor a quarter inch at one end. Finally I used the method given here and after using it for a long time can say it is the easiest to prepare and practical to use. Now you can U3e the back design at will, hut whenever it is necessary to pick out a single chosen card, you can fan through the face up deck and find it as easily as from the back, and get away from that continuous back-watching.

A needle or pin Is the only tool and at one end the suit indicator is scratched as shown in the illustrations. Spades and Clubs are separeted from their standard. The center dip of the Heart is lengthened, and the bottom point of the Diamond is cut off a trifle. When you fan through such a deck, have upward the untouched ends. The tampered with end shows up much quicker when among those left alone. Now I know I've gone a long way to reveal this pet angle of mine but I've done it for a good reason. My aim In writing for magi Is to help Improve where I can and find fault when I find It possible. If I can fool magicians with a subtle principle like this you can do the same and as far as I know that is the chief desire of a great many devotees. And if you can fool magicians you won't have much trouble fooling laymen as long as you don't lose yourself in technalities and get away from simplicity and direct action.

THE 'ONE OP A BUNCH' FORCE. (Orville Meyer)

If one can use a clever force of a specific card with, the appearance of a genuine selection this is it. Two cards can be forced at the same time with no more effort. Suppose, for instance, you ere going to force a deuce. Put the three other 2 spots on top of the deck and. have near the center the one to be selected. To locate this from the back it is best to dot the upper left and lower right corners. Fan the deck near center and. have 1 or 2 spectators take out three or four cards in a bunch. It is only necessary to have the deuce one of those removed and by this method there is no chance of failure.

Nov/ state that only one Is to be used and to be sure the choice is made by chance, have them pick out and use the LOWEST card from those drawn. Thus your particular two spot becomes immortal. For two cards use a deuce and a King. Put the rest of the Kings on bottom and the deuces on top. Fan and have the two cards (Deuce and King) among the bunch removed. Ask them to take out the lowest and highest cards for use. This is an excellent force for a two card rising card routine.

THE IMPRESSION MODERHE. (Annemann)

Sealed letter tests have come and gone. They no doubt will still come and go, but in this case we have one which differs enough in effect to make it appear new in the eyes of the sitter.

Only one envelope and sheet of note paper Is in use at any time and it is presented as a com-Dination of psychometry and automatic writing. The sitter (who doesn't sit in this test) is handed a sheet of note paper and a letter envelope. They write a question about something concerning themselves personally, fold the paper several times, and seal It securely in the envelope. Taking the envelope and pencil in his otherwise empty hands, the medium feels it between his hands, stares into space, grunts, foams at the mouth, and otherwise becomes very psychic. He asks person to take it back, hold to his forehead and mentally think the question over. Immediately medium grabs the envelope and scribbles across it an impression that turns out to be an answer to the questIonJ It still remains sealed inside and UNTAMPERED WITH.

Nothing is needed except envelope, paper and the pencil. Use the cheap type of. envelope obtained at 5 and 10 cent stores. With parafin wax that is cold and hard coat the entire face of the envelope by having it on a hard surface and rubbing the cake over it. Now burnish the surface with the Mount of Venus on your right or left hand, being careful that said Mount Is clean as the parafin picks up all dirt. This gives you a smooth, shiny surface very suaceptable to all impressions. Have a 3heet of paper that can be folded several times. Have the sitter in a standing position for the test. Hand them the paper after you have asked them to get their mind on a question. Now give a pencil to them and at the same time back their paper up with the face side of the envelope. They write and seal.

You now take the sealed envelope. Pretending to feel it, and turning it over and over In your hands, you read the impression in DULLED writing on the face of the envelopel In short, an impression has been made ON WAX rather than by wax ON PAPER. And most important, in handling, the dulled lines are obliterated by merely rubbing the envelope between the hands I

From here to the climax it is only 'the business' as f.ar as workir^ goes. Reading the impression is a matter of tipping the envelope surface slightly so that the light strikes it right. I pretend to start writing on this side which gives you all the opportunity needed for reading. Before writing however, ask if such-and-such means anything to them, describing something at random. Hand envelope to them for the forehead action, and taking it back you scribble the answer on the BACK because writing won't 'take' on the waxed surface and this maneuvre makes turning the envelope over after reading go by unnoticed. This is a nice effect for publicity purposes as one can always go about with a couple of prepared envelopes and paper.

THE RIBBON THAT MADE GOOD. (Orville Meyer)

Effect: A spectator freely selects a card from an ordinary deck. AXter being replaced the deck is genuinely shuffled and cut several times. This may be done by the spectator himself. Saying that he will locate it, the performer removes a card at random. Upon seeing it however, the spectator says it is NOT the one he picked. A two foot ribbon is fastened with a sticker to the back of this card arci it is cut to the center of deck. The spectator now names his card and gently pulls on the ribbon. He pulls out the card to which ribbon if attached and IT IS THE CHOSEN CARD!

No sleights are made use of; there is nothing to cover up; no quick move3 are necessary; and the chosen card may be initialed. A nice angle is to allow the spectator to keep the initialed card on the ribbon as a souvenir.

Method: Diachlon (lead plaster)can be obtained at drug stores. Using a bit of this (a piece about the size of a wheat kernel) warm it over a flame so you can spread it thinly on the back of any card from deck. Use a Joker to put this on so it can be left out of deck when not in use. It is best to spread the diachylon in spots along the edges and in center of card rather than try to cover the entire back. Two cards stuck together may be freely handled and tossed about as one. A little pressure and sliding motion separates them. With this prepared card on top of deck you are ready to present a real startler as the climax is totally unexpected

Any card is freely selected. Undercut about a half of the pack, have the card replaced on top of the deck and drop the under half on top of this. The selected card is now near center with the prepared card underneath. The deck is pinched tightly, the two cards adhere, c.nd the cards may be given an overhand shuffle with no fear of them parting company. After shuffling and cutting, remark that as usual* in such cases you will try to find the card.

Spread the deck out, locating the double card. It is easily found by the extra thickness. Remove this card and declare it to be the one chosen by spectator. When told that you are wrong, hand it to him and also give him the ribbon and sticker to fasten to the back. You need not be afraid of them coming apart but if timid about this, put the card on back of deck and have him fasten the rib

bon on while In this position. Show it again, after ribbon Is attached and asks spectator if he is positive you are wrong. Put it back on top and say you will bury the card in the pack. Left thumb exerts a little pressure and slides the top card over as in dealing and this separates the two. Without showing card again push it into the center of deck.

Now hold pack with face of same towards audience and standing vertically with the ribbon coming out at the top. Have spectator name the correct card. Riffle the top of the deck several times arxi have him gently pull the ribbon up. THE CORRECT INITIALED CARD IOKES ITS' APPEARANCE ON THE END OF THE RIBBON AND IT IS THE SPECTATOR'S TO KEEP I

THE MIGRATING PASTEBOARD. (Annemann)

Once again I introduce an effect that has been tested under fire and which has proven a good item for small club and close-up programs. It uses one of my favorite subterfuges - that of introducing an odd card into a borrowed deck - than which there is no other principle more intriguing at the moment.

Asking two members of the audience to assist you have one on each side and announce a most baffling problem with the borrowed deck. With the cards face up you deal them onto the spectator's hands, the man to your right getting the black cards, and the man on your left getting the reds. You ask If everything has been fair to date and receive an affirmative reply from both. The packet of red cards is now given a shuffle with faces towards audience and encircled with a rubber band, the left hand spectator holding them thereon. The man on the right is now asked to say 'STOP' as you riffle the black packet, and note (as well as remember) the card stopped at. This packet is also secured with another band and given him to hold. Mystic words are said, passes are made and everyone holds their breath. The right hand man is told to look through hia packet and remove his card. It is gone! The left hand man is now told to look at his cards and see whether or not there is a black one among the reds. There Is I The first man names his card. The second man shows the black stranger. Climaxl Nice? I think so because it has always been received very well.

Borrowing the deck for this trick makes it a practical drawing room and club number. In the latter places have the secretary, president, etc., or from whom you obtain the deck, act as one of the assistants to emphasize this point. Besides yourself an extra card is necessary. It may be of any back design. I always carry four cards about with me. Two are of bridge size with red and blue badcs and the other two are of regular size also with red and blue backs. Thus it is possible to match a deck in size and general color. This extra card is a 1 short' but made with a trimmed corner or a concave trim at the center of ends. Straight across shorts are not practical as I have said at lengths before. Palm it onto the top or back of deck you have borrowed. Keep deck face up, and fanning them through locate and pass to the face of deck the genuine duplicate of this extra card. I forgot to say that the extra card should be a small black spot card. It shows up better and the contrast among the reds is greater. Consider it said.

Have the spectators up and standing on each side. Their hands outstretched, you deal the cards from the face out pack, the reds to the left and the blacks to the right. After the first and until the last they can be dealt in bunches, but the man on the right gets the black packet with the genuine card at the back and the fake duplicate at the face. They both admit that everything has been fair. You take the two packets from them, one in each hand. The right black packet is in the right hand, ends between thumb and second finger with backs up. The left red packet is face down on left liaai. You ask left hand person which color packet you shall use. At the same time you tap the right hand packet's side onto back of left packet, and the left fingers come up around the back of packet and top slip the card off onto back of the left packet. The spectator names a color. It doesn't matter. If he says 'RED' you hand black packet back for the moment and with faces of red cards to front, overhand shuffle about half and drop the rest on top (or face) all of which brings the genuine black card to about center. Take a rubber band from right trouser pocket, snap it around the packet and give to him to hold.

If the spectator says 'Black' say that you will have a card chosen from this selected packet but first you will have the red ones secured and then proceed in exactly the same manner. Now take the black packet again. At the face of this packet is the fake duplicate. Cut the deck bringing this locator card near center and turn packet face up.

Riffle the front end from bottom to top and have right hand spectator say 'STOP' at any time. It is simple to riffle this packet through quickly several times as you say this and whenever he says 'STOP' you riffle to short and stop. Thus the fake duplicate is looking up and staring him in the face. He remembers it (we hope). The deck closes and it is turned face down. Right thumb riffles up the end nearest performer until the short card drops again and deck is cut, the right hand masking the back of the fake duplicate now on top. At this time however, you are talking about the card that has just been noted in the black packet and you ask the man with the red packet If anyone has been near him. He says, 'No.' At this time you palm the top card of your packet to pocket as you reach for the second rubber band. Secure the black packet and give it to right hand man. The effect is done as far as mechanics are concerned. Reread the description for the finish and the deck is returned to the host or hostess with thanks.

THE FACE HP - FACE DOWN LOCATION. (Annemann)

I discovered this back around 1928 but to date it has never appeared In print to my knowledge. The discovery was quite accidental but at that time I was spending a lot of time and study on one-way back effects and chanced upon it. I can't guarantee this with any other back than the League Backs of Bicycle make. I consider that design the best one-way backed card for many reasons.

Faces of cards are susceptible to the one-way principle in twenty-two Instances if only the spot cards are considered. Picture cards generally have some difference that can be noted but the Jack, Queen and King of Spades are the only three court cards with a definite one-way design at the center of their faces. That gives us twenty-five cards in the deck that can be discovered by their faces when reversed.

Now comes the strange part of all this. Arrange the faces so all are pointing the same way. Now turn them over and check the backs - the three wing design at center of the back on League cards.

THE BACK DESIGNS WILL ALL BE POINTING THE SAME WAY ALSO!

Possible now Is a very cute table trick and one which will fool a magician who may suspect your using a one-way deck. In effect you count off 25 cards from the deck saying that it is all you need for the test. Hand these to a person to overhand shuffle and then take them back. Fan them and have one drawn. The moment it is out, close fan and hand cards directly to another person and ask the first man to push his card back anywhere among the others while they are all out of your hands. However. this maneuvre reverses the deck so that the selected card is now reversed in the deck of 25 cards.

Have this person now shuffle the cards and then as you turn your back tell him to deal them on the table Into five rows of five cards each. Also tell him that at any time and as often as he wishes he is to turn a card face up. Thus 8 or 10 of the cards are face up in the square and the rest are face down. This is the point that will fool the card men because the face up and face down cards are at random as desired by the spectator.

However, all of this means nothing because both the faces and backs of the cards are reversible and it Is the simplest thing In the world for the performer to look at the square of cards and locate the one turned card. When dealing them, a spectator will deal them all the same. Thus the face up cards will all point one way and the face down cards will check with each other. And regardless of whether the chosen card Is among one group or the other, it will be the only reversed card of it's kind! I always find that a neat presentation at this point is to have the spectator who drew the card think of the row across and then the position in the row of his card IF it has been turned up (the man who lays them out does not know card). If it hasn't been turned up he is to think that and I tell him so. Then I take his wrist, move it over the square and finally drop it on the chosen card. As a test of muscle reading It is good and seems perfectly fair because you didn't hold or control deck for the return of the card.

A PRINCIPLE IN DISGUISE. (Harry Vosburgh)

An extremely cute method of handling a one-way deck makes this secret of importance to those who favor such effects, and it will throw off the few who may know of the principle and possibly suspect It. There is an older subtlety invoked in many cases - that of reversing half the deck. A card is now selected and replaced after noting but it isn't necessary to reverse either the card or deck. Simply have the card drawn from one half and replaced in the other. The deck is now cut at the center of the two sections and dovetpiled together so as to leave all cards pointing one way. Regardless of the half into which card was replaced, it will be the only»one now turned around in deck.

In this much simpler and yet as practical version, the bottom card of deck is reversed and remembered. A card is now selected from the fanned deck and in closing the fan the pack is turned as of yore. However - it is now given an overhand shuffle and the bottom card brought to top. The deck may be fanned now or kept squared for the return of the card - but the direction of the top card jibe3 with that of the returned card and all seems well to those who may know of the principle. As performer knows the identity of the reversed 'herring' it is no trouble to find the other re versed and selected pasteboard. I consider this as good as the first above mentioned twist simply because If a spectator is at all 'in the know1 this method of disguising the turn will throw him off Just as much and with less effort and subsequent handling by the performer.

FROM OUT OF THE AIR. (Armemann)

One of subtle methods for the transmission of signals has been passed around a good deal in its' original form. The switching on and off of an electric light in another room was found to act on the radio with sharp static like snaps. Presumably the performer would be given a number or card and leave the room before the medium returned. In another room he would signal her through the radio which had been turned down a little but not off during the test.

I played around with this idea and found out an important secret which allows of a much wider range of effects. If the drawing room set doesn't use an aerial fasten one of bell wire to the post. Most radios though, use an aerial around the floor of-the room or a lead to one outside. In any case, it is necessary to have a length'of wire attached to the aerial post and strung along wall or under carpet to a conveniant spot. I'll describe my own hookup and the reader, knowing the principle, can arrange his own to suit. It is only necessary to touch a bare spot of this aerial wire to a metal connection as a ground to get the same effect, a short snap of static as the connection is made and broken. I ran the wire past a metal base on the piano leg so that it lay snug against it about an inch from the floor. In the baseboard of the wall in back I placed a screweye also an inch from the floor. A three or four inch piece of elastic cord was fastened to end of wire and to screweye. Now the insulation on wire just to the right of the leg (about half an Inch) was removed. When sitting on the piano bench, my right foot underneath came just to the left of the leg. >3y a tap of the toe, the wire was moved to left and made a connection for a second, whereupon the radio responded with a snap. Lifting toe Instantly broke the contact.

Effects are unlimited. I signalled three figure numbers which had been decided upon by the crowd and which the medium, on return to room with a blindfold revealed by holding someone's pulse and counting. The static (?) always cane through on the sec'ond number after the right one. Two cards would be named by people and the medium on return (always blindfolded) would deal through a face up deck and then call them both. She could see downward and the telltale 'click' would cane on the second card after each time. The whole deck would be dealt, however, and both named at once. We had a well worked out book test where a book "as taken from shelf and someone would select a page and think of a word in the first line. All would see it and I'd note page and position of the word counting from left. On entering for this test the medium would stop at door and then enter with short steps and on the right step she'd get the first signal denoting first figure of page number. She would then stop and as book or magazine was handed her would slowly say, "Everybody please think about whatever I am supposed to do." Just 10 words and on the right one she'd get the second figure of page number. Kneeling to floor she would open cover and start turning the pages slowly. On the right one she'd get the position of the word. Then she'd quicken the turning until finally she would stop and ask if she was at the right soot. Now removing the blindfold she would study the page carefully and announce the word!

Robert Doldge then gave me the idea of using the cue for 'hot and cold1 so that medium could enter the room and locate an Indian rupee which had been hidden and which was supposed to have a magnetic property which would register on those who were telepathically inclined. All bosh, but nevertheless good presentation. Try it out and see for yourself the possibilities.

THE HANDKERCHIEF THAT FLEW. (Annemann)

Years ago I used this effect in a silk routine I did as a club act, and running across it in my scrapbook reminded me that it was still good. Two glasses are on your table together with two cylindric covers which are about a half inch less in heighth than the glasses. The covers are first to33ed to someone and received back after you have passed one of the glasses out and had the spectator bring it back. Taking one of the covers, you pick up the other glass and show that they just fit nicely over the tumblers. The spectator's glass is covered and he holds it on outstretched hand. A silk Is now taken, put into the other glass and covered. On command the silk vanishes. The tube Is carefully lifted showing the glass empty and tumbler is set down while tube is taken to front and then snapped into audience. Lifting the other tube from hand of spectator, the silk is found in that glass and all Is well.

My method was to have one a mirror glass and the other to match but unprepared. The duplicate silk was pleated across and then up so as to spring open, tied with a single piece of weak thread and fastened to the head of a common bent pin so that when hanging inside a glass, a mere push downward on the bundle with finger would break it. This was hung in the back part of the mirror glass. Taking back a tube it was dropped over this empty (?) glass for a second and being a little shorter came below the overhanging pin. Lifting it off carried the silk with it and in putting this tube over the other glass the silk was broken by the right second finger which Tías holding tube from inside with thumb outside. The other silk was vanished by the mirror glass! The sucker working of being careful with tube carried all thoughts away from this tumbler which was left on the table.

A DAFFY DISCOVERY. (Annemann)

Usually a performer is serious about finding a card in front of an audience but in this case I have departed from that rule. After working It out and trying it under actual corciitions, I found that people still took It seriously1 And, best of all, It always gets appreciation for some intangible reason, possibly because it appears like a lunatic's method YET WORKS.

It can be worked by two methods. I prefer the first because it 13 cleaner. Use your own deck and have 13 or 14 duplicate cards to match. In your left coat pocket put the same number of in different cards taken from the deck and put the packet of duplicates on bottom with another card below to mask. We will assume the duplicate packet to consist of Fives of Clubs. Have the Nine of Hearts, Six of Diamonds and Two of Spades In top portion of deck and pencil dot their upper left and lower right corners so as to quickly locate them in a fan. As will be seen, these card combinations may be changed at will by performer.

State that you played at an asylum and after the show was approached by an Inmate who wanted to show you a card trick. This Is it. The person said that rather than discover a card by skill and dexterity, he had learned to use his brain. You now ask the spectator assisting to cut off and retain about half the deck. You pick up your half, and illustrate that he is to fan his cards facing him and that you will reach over and draw several cards at random. You do this, throwing them face down each time without looking at or showing them. You pick three In this manner, and It isn't by chance or coincidence that you take the three dotted ones!

Now you fan your own packet so that the duplicate cards make a wide fan and offer the spectator a choice of ono which he Is to place in his pocket without learning its' identity. At this time you drop your packet into left coat pocket standing it beside the mixed cards already there, laying on their sides. Picking up the three cards you picked you explain that this was how the lunatic knew the carel selected by the spectator. Turn them faces towards audience and say, "We take the highest card which in this case is a Nine and from it subtract the next hi#iest which Is a Six. That leaves Three. To that remainder we add the lowest card which is a Two. Three anc1. Two is Five. Therefore the card Is a Five Spot. Now we look at the three cards and find a Heart, a Diamond and a Spade. Clubs is the missing suit, so the card must be a Club. In short, by simple figuring the selected card is the Five of Clubs. Will you show it, sir?" After card is shown to be the right one, you can bring from pocket the mixed cards and throw on table. Say, "That was what I was shown, and it's my opinion that anyone who can make a thing like that work shouldn't be locked up."

An alternate method is to dot the cards in the spectator's half In the same manner, but fan force the single card from your half. This requires no duplicates but is not as fair looking and clean cut as the other. The effect is quite different.

A NEW METHOD OF TABULATION. (Ralph '.V. Read)

(Note: Mr. Read needs no introduction. As the author of The Calostro Kindreading Act, he can be thanked by the profession for a most practical and much needed system. The following is another of his very original id eas.)

Having 3tolen, or otherwise soured original written questions, or duplicates thereof, this new method of tabulating them for later secret reference is one of the cleverest means yet devised for the mentalist. It Is so innocent looking and so easy to i»ndle that no suspicion can possibly be aroused. It is now released for the first time and will fit in with the work of many.

You have backstage a writing tablet about 8' by 10", the ordinary kind with a gray cardboard back and a flexible cover which is hinged at the top. The stolen questions are copied in abbreviated form on the outside of the cardboard back, two mor three questions on each line. The questions to be answered first are on the bottom line, and others on the lines above.

Write the bottom line about H inch above the bottom edge of the cardboard. The exact distance Is determined by opening the front cover and folding it clear over so It rests flat against the cardboard back. In this position, the cover won't reach clear to the bottom, so you write the bottom line of questions so as to be concealed underneath the bottom edge of cover. Thus all the writing is concealed when the cover is folded against back.

When questions are copied,cover is closed on front of pad, and together with a thick black marking pencil,placed on a stand to be seen on the stage when act is opened. After opening talk you dump collected questions on stage,pick up crayon ar*i tablet, open and turn back cover a3 you sit down in a chair. Explain that concentration is necessary and you use tablet to inscribe impressions. Having memorized one question (not on pad) you hold tablet on left arm and in full view scribble with crayon while talking something like this -

" "J" get a jumble of letters...a 'B' (make a small

XB) ...no, it's not a B, It's an H (make a bold R)...and now an L...yes, it's an L (make a large L below the R)...and now I see an A (make an A below the L)...but the A seems to be in the wrong place. ..it should come first. Now I see something crooked, snake-like (make a large S)...pnd there is something supporting it (make S into a $)...is A. L.R. here?...ye3, I see you...do you recognize this mark here? (You hold up tablet in left hand, fingers on front, and thumb on back near bottom edge of cover (the cover now being towards you, of course).

A slight upward pressure of left thumb, and the cover slides up enough so you can see bottom line of tabulated questions. Secretly read and remember one or more of them. A second is all you need. A.L.R. acknowledges the $ sign and you continue... "it looks like a good sign for it means money for you...you want the better things in life you haven't had before, in fact you'd like to be rich, etc., etc."

You tear off the A.L.R. "impression sheet" and throw It aside, proceeding with the next question - the one you have just noted on the back. With each question you will find some article, or dramatic element, that you can illustrate on the sheet with crayon. Even if your drawing ability is poor, and the picture crude, the spectator will readily see the connection, if not the exact likeness, and that is sufficient excuse for your going ahead with the answer. For questions about marriage draw a heart or hearts; about trips draw a train, boat or auto; about babies, draw a nursing bottle.

Using a tablet in this manner gives many advantages apart from its simplicity and ease in the handling. All of your written "impressions" may be freely shown or examined; they are bold enough so all can see them, and this maintains a dramatic interest on the part of the entire audience. When putting your "impressions" on pad, the top hinged end is downwards, the "impressions" are written in full view right side up to you, but upside down to the audience, until you later turn tablet around and hold it up for identification - a perfect excuse for thus turning it around for them to see and read.

With three questions per line, and eight or ten lines, you will have 24 to 30 questions,enough for most acts. In other words, you use only about 3 or 4 Inches at the bottom of cardboard for copying. With a tablet in hand you will quickly discover how easy it Is to slide cover upwards enough to bring uppermost lines into view. The cover then slides back the Instant you have glimpsed line, and everything again hidden from view. Use a new tablet for each performance.

THE UNKNOWN SUBJECT. (Annenann)

I thought for quite a while before deciding to release this secret because I've used it a lot for press work and the effect is absolutely original. I had it listed as a dollar trick should I ever let it go, but Spring has made me weak so here it is.

Pick out a friend from the telephone book. Count down and remember its position from the top of its column. Make 26 one inch square cards contain-letters of the alphabet, ¡,'ake 25 more all containing the first letter of the friend's last name. Put the 26 duplicate letters in your right coat pocket. Put the 25 different letters in the snail watch or coin pocket at the top of this side pocket. Select tv/o cards in a deck of opposite color but whose values will make up thé required number to count down in book to the friend's name. Tip off this friend to the names of the two cards. (I manage to get to their phone and paste the names on the bottom so he won't lo3e them.) Take the book and dog ear or otherwise mark the right page so you can get to it quickly. So far this may not appear as much - but please visualise the following effect on those hit by it.

Explain that you will demonstrate a test of mind-reading with the telephone book. A name must be selected at random so you have a set of letters. Reach in pocket and take out the top set. Show all different and mixed and put back. Your hand goes on down after leaving them at top and stirs up the duplicates. Have person reach in and take out one. Right after this you take out top set and throw on table. This set, being minus the one forced, mal:e3 everythir^ check.

Now explain that as an "R" (for example) has been picked, the name shall be among the 'R' section. Pick up book and run through it, stopping at the marked page, saying, "Here is a page of R's. We will U30 it." Turn book down still open and take deck. "Now we need a number of two figures," you continue. If, for instance, name Is 36th down from top, you force a three and a six. Use your own choice of methods here, but for your sake as well as mine don't let it be complicated. Use an alternating two kind deck If you wish and have two removed from anywhere in a spread. Call the cards 36 and turning over book point to the right column and tell him to count down and mark the none. You walk away. If you'll only go right through this as written without dragging, it is the best nethod of which I Imow. Now you dramatically, from across room, spell out the name. NOW - say you would like to make a test of telepathy. Ask the person to go to the phone and call up the selected name In the book. This called up party is to be told something about a University or committee that is checking laws of average and sequence and would he be kind enough to name two playing cards at random for the record. The person at other end can hem and haw a little to build it, but does as requested. AND HE NAMES THE TWO SELECTED CARDS1 Imagine the effect oreated by this double test! I could rave for an hour but the dope is all here and if you'll think for a minute you'll feel like raving tool I know!

^à The Jinx is published monthly for magicians by Theo Annemann, Waverly jm New York, U.S.A. J^

^à By the copy, 25 cents. By subscription, $1 for 5 Issues postpaid. The ^^ Jinx Extra is a semi-annual at $1 Tj per copy. No subscriptions. ^^

order through any magical depot or ^Êk direct from the publisher above. nk b*

Sheet 2

takes three together from csiy 3pot and pockets while performer reassembles deck by completeing cut from where cards were taken and glimpses bottom card in laying cards aside. Thus he knows the next three or chosen cards in order.

Standing blindfolded at a distance the performer aska that a card be taken from pocket. Ninety-five times out of a hundred the cards are taken out in the correct order. However, the color is naned first, followed by the suit, to double-check. Have the first and third of the same color but opposite suits. The middle card is of opposite color. If it isn't the color you name you know the card anyv/ay. If it isn't the suit you know it too. You may hit one who /^oes at it backwards but when a rare specimen doesn't follow the order as planned he'll invariably keep on the way he has started. The middle card never misses beins second. It's up to you to make the most of the last. But watch the effect on the audiencel

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