The Germain

youtlon annemann

The right hand, holding paper in this way, (our specified size and edge tear make this about right) is pulled away from the left, and the arm swings around to let the audience see the card being held (?) against the paper. The actual card is thus left in the left palm, which hand immediately goes to the left trousers pocket and brings out a paper of matches, leaving behind, of course, the card.

The paper of matches is tossed to someone close - "Please light a match - any one." And in the space of this action you deliberately and openly fold the paper in all directions around the card held (?) there. Then, upon the approach to the spectator, turn the paper over several times between fingers of both hands to let it be seen that everything is fair.

The paper is lighted, and burns quickly. The patter lines are used. The left hand is not used during this and drops to the left trousers pocket, palming the card, and waiting until the exact moment when the right fingers let go of the last bit of flaming paper.

Then it reaches into the inside coat pocket, "diving" behind the wallet there, and bringing it out with the card against its back. The wallet is shown, lengthwise of palm, and the right hand peels off the rubber band and tosses it out with a grand gesture, during the patter.

The right hand then opens the flaps and the audience sees the card (?) beneath the glassine window, inside the wallet. The right hand now takes hold of the wallet at the bottom edge, (the end towards floor) and the flaps almost automatically close (intentionally, though) to hide the enclosed card for a second. The right hand, and left, swing over more towards body center,and it is here that the right hand pulls the wallet away to leave the palmed behind card in the left hand as though it were pulled from its case.

This last action takes place as the performer starts for the selector, and the card, his own initialed pasteboard, gets to him quickly without possible trickery.

Last minute thoughts:- It will "hit" many that one might as well do the regular "card in pocketbook" trick, for the last part, rather than play around with a "stooge" card. We can't prevent that from happening in cases where the magician wants to save, or hoard, his skill and ease of working. The method described is as we do it. The reaching in and pulling out of the wallet, with a continuous and unbroken move, always has been better, for us, than a reach, a fumble, and a jerky pull-away, depending upon the strength of the clip holding the wallet.The patter never has been interrupted by a movement not in keeping.

Splitting cards to that last thickness does not keep a toughness from burning longer than the paper. The patter and intent is that the card is gone. It must not look like A card is taking time to burn.

Copyright 1940 Theo. Annemann, Waverly, N.Y. This article's suggested materials are not to be sold by any trick or novelty dealer without written permission. Jinx No.95, p586 and p587.

50 cents per hundred buys additonal sheets. Club with out of town magi (the force card must be the same) and the total cost is nil. The effect is clean and deliberate throughout', you can toss away your terrific sleight-of-hand methods, and leave your thoughts for showmanship


The trick is ruthless, but effective. The audience sees four envelopes passed out, and four cards taken from the pack by those people. The cards are sealed, collected by a fifth person, mixed well, and laid, BY HIM, in. a row on a table between performer and audience.

Now the magus speaks out. He wants to show that a sympathy exists between people and the objects they have touched. To emphasize that sympathy he will let each of the four people pass through a sieve of chance.

Each of the four persons is given his chance. Each, in turn, keeps an envelope. Then they name their freely chosen cards and show what they have picked. Is it coincidence that ALL found their own cards? It's either factual evidence or accurate fancy!

The envelopes, handed out in a careless manner, are marked. It doesn't matter how, but the containers Eire capable of being identified from each side as 1, 2, 3, 4. When the fifth person lays them down in a row, the performer's first mental effort is to note how they lie.

First he patters about leaving all to chance. He KNOWS the people as 1,2,3,4. Therefore he KNOWS to whom each envelope belongs. First, he looks at the envelope second from HIS left. He motions, offhandedly, towards the person to whom he knows it belongs. "Give me a number between one and four - quickly." If "three" is it, he asks that person to step forward, count to it, take it, and step back. If "two" is said, he looks down, counts deliberately to two and offers it. From each side of the row the same card has been "sold" to its owner.

You now push the three remaining envelopes together to close up the empty space. This action lets you see the mark on the middle envelope. Looking upward, after the arrangement, you ask another of the "four" to step forward. Naturally, it is he to whom the middle envelope belongs.

Pick up your right hand envelope and give it to him. Say, "Just touch one of the others.-'1 Should he touch his own (original center) you continue, "Keep it for yourself." Should he touch the right end envelope you say, "That puts both out of the way. Pick up that envelope on the table and pocket it."

No matter what happens, he gets his own. You put the two remaining envelopes side by side, and call either one of the two remaining people. And you KNOW which envelope belongs to he who comes up.


As the fourth person steps up, you have two "outs1.'. Should the third man pick up the envelope belonging to the fourth man, and that man is coming for.vard, tell your selector. "Give it to him, that (indicating the last one) is for you, and -.Till the other two gentlemen (or ladies) please come up to make it a magical quartet." On the other hand, should the third nan pick his own envelope, he naturally keeps it

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