Off Beat Mentalism

OFF-BEAT

MENTALISM by ARTHUR SETTERINGTON

ILLUSTRATED BY PAUL LENTI

1975

MICKY HADES INTERNATIONAL Box 476, Calgary, Alberta, Canada

WARNING

CONTENTS Page HEADLINER

3

I TOLD YOU SO

4

THE BURNING QUESTION

6

WHO TOUCHED WHAT?

7

MOTHER LUKA'S LOCKET

9

THE DARK READER

12

LIGHT HEAVYWEIGHT

15

HYPNO-ACTION

18

WITCH?

19

I HAVE BEEN HERE BEFORE

19

PARTNERS

21

VISION IMPOSSIBLE

23

IN THE DARK

27

HEADLINER Effect: Three folded newspaper cuttings are given to a spectator who is asked to attach them to a small numbered stand. He is allowed to put them in any position he wishes. When this has been accomplished, the performer draws attention to a similar stand, upon which three duplicate cuttings have been attached. The performer takes the first cutting from this stand and reads the headlines. The spectator is asked to remove the first cutting from his stand, and also read the headlines. This he does, and the two headlines are identical. The second cutting is taken from the performer and the headlines read. The spectator does the same and again they match. The third cuttings are read with the same result. The method is simple, the working straight forward, the requirements few, and the effect on the audience, one of amazement. Requirements: Two identical stands, bearing the numbers, one, two, and three. A piece of elastic, or three clips on each stand to hold the cuttings in position. Two identical sets of cuttings. Prior to the show, the performer places three of the cuttings, (one set), in position on one of the stands. Method: The effect is dependent upon the performer being able to identify, at a glance, the three cuttings on the spectator's stand. He has memorized the headlines, and when he takes up the first of the cuttings from his own stand, and reads the headlines, he actually gives the headline which he knows to be the one written on the spectator's first cutting. This procedure is carried out with the other two. At the conclusion of the effect, all the cuttings may be given to the spectator, who can see for himself that everything is fair and above board. On some occasions it will be found that some of the cuttings have been placed in identical positions, and it is up to the performer to make the most of the opportunity, and if the three questions belonging to the spectator are in identical positions to those of the performer, he can really go to town, and allow another spectator to remove the performer's slips and check with the other spectator. It is necessary that the backs of the cuttings look alike, and plenty

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Df small print, without headlines, advertisements or photographs, is best; otherwise the spectators will realise that the cuttings are not the same, and their suspicions will be aroused. When each headline has been read, the performer should make certain that the cuttings he holds are in the same order as those of the spectator. The method of marking the spectator's cuttings, so that they are recognizable, depends on the performer. Some may prefer to make a Tiark, while others may rely on the way in which the slips are folded. Whatever means of identification are used, they must be sure-fire, as everything depends upon them.

I TOLD YOU SO Effect: A plastic bag containing a number of coloured ribbons is ;hown. Attached to the top of the bag there are five bulldog clips. A spectator is invited to choose one of them. The clip upon being removed, is seen to be attached to a length >f red ribbon. The other clips are removed, and to each one there is ittached a different coloured ribbon. Drawing attention to the colour chosen by the spectator, the perormer shows a large envelope which has been in full view, and from it Le takes a card, upon which there is a large circle, coloured red, the olour chosen by the spectator. Requirements:

Four bulldog clips. One large envelope. One large card upon which there is painted a red Circle. A plastic bag, which is stiffened at the top by a cardboard 'collar 1 , about one and a half inches wide.

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Five different coloured ribbons. Five red ribbons. The five red ribbons are attached to the inside of the clips by a piece of cellotape. They are then rolled up, and lodged inside the clips, until the clips are opened and the ribbons unroll. Into each clip one of the other ribbons is placed, the clip holding about a quarter of an inch of ribbon. The ribbons are placed in the bag, and the clips rest in the 'collar1 As there are so many ribbons it is not possible to see which ribbon is attached to the various clips. When a clip is selected, and in the act of removing it from the bag, the clip is opened, and the ribbon held by the clip falls out, and the concealed red ribbon unrolls. When the other clips are shown, they are not completely removed, but the ribbon drawn out of the bag for about three inches, just to show that they are all different, and draped over the rear of the bag. The card is taken from the envelope, removed, and the circle shown to be the same colour as the chosen ribbon.

RED RIBBON CONCEALED IN CLIP

RIBBON LIGHTLY G-RlPPED FOR EASY RELEASE

PLA5TIC BAGr —

THE BURNING QUESTION Effect: A spectator is given a slip of paper, upon which he is asked to write a word, a name, a number, or a colour. The paper is folded, then rolled into a cylinder, secured with an elastic band, and placed in a glass tube. The tube is placed in a handkerchief, fastened with an elastic band, and handed to the spectator, for safe keeping. He is asked to concentrate on whatever he wrote on the slip of paper, then to imagine that the paper is burning, until all that is left is ash. After much concentration, the performer reveals the word, which was written by the spectator, who is asked to remove the tube from the handkerchief, and the paper from the tube, so that the performer's amazing revelation can be confirmed. When the tube is taken from the handkerchief, nothing but ash. Requirements:

it is seen to contain

Two identical tubes with 'press-on', not 'screw'

caps One of the tubes is empty, and the other contains a quantity of paper ash. One handkerchief.

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A pencil or pen. Two elastic bands. A small pad, or slip of paper. Method: The two rubber bands are in the right jacket pocket, along with the tube containing the ash. The spectator writes on the slip of paper, folds it, and rolls it into a cylinder. The performer takes an elastic band from his pocket, and at the same time brings out the tube concealed in his hand. He gives the rubber band to the spectator to fasten around the paper. The spectator is given the empty tube, into which he places the paper. The performer takes a pocket handkerchief and taking the tube from the spectator, drapes the handkerchief over it. He takes the tube in his left hand, holding it through the material. It is while he is doing this that the tubes are switched, and it is the "ash" tube which can be seen under the handkerchief. The performer reaches into his pocket for the other elastic band, and leaves behind the spectator's tube. The spectator slips the band over the tube in the handkerchief and keeps it. The performer asks the spectator to start concentrating, then to imagine that his question is going up in flames. The performer walks about while giving these directions, and while doing this, his hand is in his pocket slipping off the cap of the tube, and removing the rolled paper, He does not open it yet. He continues to move about. At times his back is toward the audience, and gradually he is able to open the paper and read the contents. Some performers may prefer to use a pad or a slate to write down their revelation, using it as a cover for opening the rolled paper.

XWHO TOUCHED WHAT? Effect: From a large envelope containing a number of small articles one is taken. While the performer's back is turned it is shown to the other members of the audience, and then returned to the envelope which is kept by the spectator. He is asked to pour the articles from the envelope onto the table and in due course the performer reveals the selected article* More than one article may be chosen with the same successful results. Requirements:

Two envelopes, A bag, rather like an enlarged pocket, made of thin materiaL Two sets of articles

one for each envelope.

The articles must be roughly identical in shape in both envelopes, but the articles in one envelope which we will call "A", must begin with the letters from A to K and in the second envelope "B", from L to Z. To give some idea of what is meant by similar shapes, here is a list of items. A

B

Ball Bearing (1/2" diam. )

Marble (1/2" diam. )

Dollar Bill

Pound Note

Aspirin Tube

Lipstick

Ball Point Pen

Propelling Pencil

Dress Ring

Wedding Ring

There should be at least a dozen items in each envelope., Preparation: Envelope "B" is attached to a small clip fastened inside the coat near the inside pocket. The bag is pinned inside the coat. Working: Envelope "A" is shown without disclosing the contents. A spectator is asked to put his hand inside the envelope and take out any article he wishes. The performer turns his head while this is done, then moves away with his back to the spectator, giving the spectator a chance to examine the article and show it to the other spectators. The performer takes this opportunity of putting envelope "A" in the large pocket and taking envelope "B" from the clip. When the spectator is ready, envelope "B" is passed to him and he replaces the article. He is asked to pour the articles on the table, and the performer is able to recognise the selected article because its initial letter belongs to the A to K group. How he brings the demonstration to a close is up to the performer, but one idea is elimination* For this the performer may be blindfolded, or have his back to the spectator. He knows the article chosen, having either glanced at the articles, or if blindfolded looked down the side of his nose. He eliminates the articles in the following way. He may say, "I want you to remove any article which is not metal. Will you now take away any article which is heavy. I want you to remove any article which is triangular, rectangular, etc. " He goes on until he finally says, "You are left with one article, " which he describes, and concludes, "and this is the article you selected, "

As mentioned previously more than one article may be chosen. Some performers may prefer to use a changing bag instead of having to switch envelopes. The articles in Group A are in one compartment, and the articles in Group B in the other. An article is taken from Group A, and when returned, is placed in the other compartment. In this case, the performer empties the articles on to the table, casually turning the bag inside out to make sure that no articles are left,

MOTHER LUKA'S LOCKET Effect: The performer tells his audience about Mother Luka, a woman of two centuries ago, who was said to be possessed with supernatural powers. It was claimed that she was a witch. Taking a small box, the performer shows a small locket attached to a thin chain. It is, he claims, possibly the same locket used by the witch herself, and offers to demonstrate some of its unusual properties. Demonstration Number 1: A pack of cards is shuffled, a card is selected by a spectator, replaced in the pack and the cards spread along the table face down. The locket is held by the chain, above the cards, and it swings backwards and forwards. Then, it suddenly changes its direction andbegins to move in a circle, finally stopping over one of the cards. When the card is turned face up, it is seen to be the chosen card. Demonstration Number 2: Two coins are shown, and a box which is just big enough to take a coin* The spectator is asked to place one of the coins in the box while the performer's back is turned, and place the other in his pocket. When this has been accomplished, the performer holds the locket above the box. It begins a circular movement, and the performer tells the spectator which coin is in the box. The same procedure is carried out again and the performer holds the locket over the box. On this occasion the locket moves backwards and forwards, and the performer reveals that the other coin is in the box. This can be repeated two or three times and the performer is correct each time.

#

Demonstration Number 3: The performer brings out a larger box. Shuffling a pack of cards he has one selected, which is placed face down, without the spectator seeing it, in the box. The box is closed, and the locket held over the box. The performer states that he is going to ask questions, and the locket will answer them« A circular movement means "No1', and a forward and backward movement means "Yes". He asks the first question.

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"Is the card a red card? " After a few moments the locket moves backwards and forwards indicating "Yes". While it is moving he asks the next question. "Is it a heart? " The locket, after a few moments, changes direction and swings in a circle. . . . "No. " "Then it must be a diamond.

Is it a picture card? "

The locket swings in a circle.

"No. "

"Is it an odd card? " It swings backwards and forwards.

"Yes. "

"Ace? " He pauses. The locket alters direction. "Three?"

Pauses.

It continues to move in a circle. "Five? " Pauses. There is no alteration in the locket's direction. "Seven. "

Pause.

The locket slows down, then swings to and fro. the seven of diamonds. "

"The card is

The spectator's card is taken from the box and proves to be the seven of diamonds. The performer says to the spectator, coincidence? "

"Sir, do you believe in

Whatever answer he receives, he opens the locket, and reveals a miniature card, the seven of diamonds.

This pleasing routine is based on both old and new ideas, and properly presented provides good entertainment. The methods for the working of the demonstrations are as follows.

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Demonstration Number 1: This is a simple location. An easily recognizable mark is made on the back of a card. The pack is shuffled during which the top (marked) card is shuffled to the bottom. The cards are fanned and one chosen. The fan is closed and the cards under cut. The top half of the pack is held toward the spectator who places his card on the top. The other half of the pack is placed on the card, and the cards cut, then spread along the table. When the locator card is noted, the card next to it will be the one chosen by the spectator. The locket is surreptitiously moved, and the card finally located. Demonstration Number 2: The coin box is constructed with a weak magnet embedded in the bottom. One of the coins is attractive to magnets. When this coin is placed in the box, the magnet has sufficient pull to prevent it from sliding from side to side, so that if the box is slightly tilted there is no noise, whereas if the other coin is put in the box, there is a slight noise as it moves across the bottom. To remove the coins from the box, the box is turned upside down and the coins fall onto the hand. Because the magnet is weak, the "attracted" coin leaves the box without any trouble. Demonstration Number 3: The larger box used for this demonstration is a locking card box. The card to be "forced" is placed face down above the flap which is locked in position. The cards are shuffled, and a face down card put in the box. flap is released, and the card eventually revealed.

The

The conclusion is an added extra, when the locket is opened and the miniature duplicate card is revealed.

WEAK MAG-NET EMBEDDED IN THE BOTTOM OF -11-

BOX

THE DARK READER In my early days in magic, I had the privilege of meeting Jack West, a professional magician, who worked mainly in hotels. He had a pleasing personality, and a clear cut type of presentation. The two items which come to mind when I think of Jack is his Aerial Treasury, and his Blindfold Card Reading. The latter item intrigued me as I had not previously seen it performed, or at that time, seen it in print. In his presentation he had a pack of cards shuffled by a member of the audience, during which time, a second spectator blindfolded Jack with a pocket hankerchief. Receiving the shuffled cards, he immediately quickly ran through them, calling out the names of the cards, until he had named every card in the pack. There were times when he did it so quickly, it appeared that he was reading the cards before he got to them. The effect upon an audience was terrific. The secret has been revealed in books, but for the benefit of any who have not seen it, here is the explanation. When blindfolded, the performer is able to see down the sides of his nose. The cards are held waist high, in the left hand, their faces toward the audience. The left thumb holds the top edge of the pack, and the bottom edge rests on the fingers. The cards are pressed, slightly, causing them to bend inwards. In this position the bottom indices of the cards can been seen. As each card is read, it is discarded, until the pack is exhausted. I liked the simplicity in handling and the lack of suspicious movements. Jack West always used a folded pocket handkerchief as a blindfold, preferring it to the more complicated types, such as coins attached to the eyes with sticking plaster, and cotton wool pads. When I decided to include this item in my programme, I studied the effect very carefully, and made certain additions. For my purpose I decided to speed up the presentation, and to try and remedy the one thing it lacked — surprise, and a punch finish. I first turned my attention to the blindfold. I used a folded handkerchief, but added a piece of heavy velvet and a piece of sheet lead. The last has a piece cut out at the bottom edge, so that it fits around the bridge of the nose. The lead is shown, then placed on the piece of velvet which is

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folded over, and laid on the handkerchief. The blindfold is placed in position, and tied by a spectator. When the blindfold is being tied, the eyes should be tightly closed so that when they are opened, the blindfold "rides" up a little, allowing a greater area of vision, I prefer the three part blindfold, because, before laying the lead on the velvet, it can be brought down hard on the table with a good "solid" thud. The idea of using lead came to me when I had to receive hospital treatment, and pieces of lead were placed over my eyes to prevent damage from rays. The pack of cards contains two Jokers, and at the commencement of the demonstration they are the top and bottom cards of the pack. In the presentation, the cards are shuffled by the performer, leaving the Jokers in their original positions. The cards are cut into two heaps, and one of them is selected by a spectator, who is asked to shuffle it, and to take a card, and reverse it in the pack. After being blindfolded, the performer first feels for the table in the front of him and takes the shuffled cards. He says that he will ask one question, and no more. "Is the pack facing the audience? " On being told whether it is or not, he continues quickly touching the face card. "It's a red card a heart the four of hearts. " He continues until he comes to either the Joker, or the reversed card. If the Joker comes first, he says. "It's a red card no, it's a black one I'm sorry, I'll have to leave that one for the moment. " The Joker is placed at the back of the pack. The "reading" continues until the reversed card comes into view. The performer has difficulty in reading it, then suddenly realises that it is the reversed card. He takes it from the pack and, holding it at forehead height, reveals the identity of the card; and when it is turned to the audience, he is seen to be correct. When he takes the card from the pack, the face of the card is, of course, towards him, and as he brings it up to forehead height, he is able to glimpse the value of the card. The remainder of the cards are "read", until he comes to the Joker, the last card. Again, with apparent difficulty he attempts to name it, then suddenly realises what it is and concludes with a triumphant, "Oh, yes! It's the Joker. " I have found this routine to be most effective, but it must be "sold" well.

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The bits of business mentioned build up the effect. When I am not actually reading I close my eyes, because in so doing, I act as a genuinely blindfolded person would act, in the same circumstances.

PIECE OF SHEET LEAD

PIECE OF VELVET FOLDED OVER LEAD

B O T T O M INDICES C/\N BE 5EEN

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LIGHT HEAVYWEIGHT Effect: Three tissue paper bands are displayed and one of them chosen and put aside. Taking one of the other bands, the performer hangs it over a short bamboo rod. Taking a book, he lays it in the band. A second book is also placed in the band, on the top of the first. The band tears due to the extra weight. The second band is slipped over the rod, and two books are placed in the band. Again it bears the weight of one book, but when the second one is put in position the band breaks. The third band, the selected one, is placed in position. The performer talks briefly about mind over matter, and how., through mere thought it is possible for something to happen to a physical object. He says that simply by thinking, and by suggestion, he will cause the fragile tissue paper band to become much stronger, as strong as heavy packing paper. The first book is placed in position followed by the second. The band does not break. He places a third, and then a fourth book in the band. The band remains whole. A fifth book is put on the others and the band still holds their weight. He finally takes a much thicker book, and puts it on the top. The band still holds strong. The performer takes away the books, and explains that now he is no longer thinking of the band as being extra strong, but a flimsy piece of tissue paper. He puts one book in the band, and the book is held, but when he puts the second book on the first, the band tears.

This effect is brought about by the performer NOT strengthening the tissue paper band, but weakening it. What is not common knowledge, is the fact that the tissue paper bands used in this demonstration will take up to four pounds in weight without tearing, so a weakening process has to be introduced.

Requirements: A number of books. One in particular must look a hefty tome. It will be discovered through experimenting that books which are of the same thickness greatly differ in weight. Books with "polished" pages should be avoided as they belong to the heavy weight class. The best type are the soft pulp pages. Three different coloured strips of tissue paper, four feet in length and two and a half inches wide. The ends are stuck together making loops measuring two feet.

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A bamboo rode This is used to hold the paper band while the books are being placed in position. This is the weakening process: The rod is hollow and in one side of the rod there are two slots. A piece of dowel rod fits easily into the bamboo and, in one end of the rod, a piece of razor blade or a sharpened nail is embedded, which protrudes through the slot. A small screw is fixed in the other end. This protrudes through the other slot (see diagrams It will be seen that drawing the screw to the right causes the blade to cut through the tissue paper. Just a little point in passing. Start cutting about a quarter of an inch from the edge of the paper. The paper tears more easily than it does when starting at the edge which sometimes curls up.

A small book stand upon which to display the books. Working: It is better for the bamboo rod to be held by an assistant who also does the cutting, as all attention is focussed on the performer and the books. One of the bands is chosen and placed aside.. One of the other bands is placed on the rod. The blade will penetrate, but should not be moved at this stage. The first book is placed in the band, followed by the second, at which point the assistant cuts the band. The same procedure is carried out with the second band. The selected band is taken and the books placed on it. Finally all the books are removed and two replaced, where upon the band immediately breaks (is cut).

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3AMB00 ROD 5H0WIK16- SLOT A T REAP,

5H0W5

MOVEABLE

DOWEL

... DRAWN TO THE RlGrHT,CUT5

7WHIC^

THROUGrH

WHEN

PAPEK

I

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5H0W5

BOOKS

IN THE PAPEK

HYPNOACTION A tray bearing a number of articles is shown; h the following instructionso 1.

Place a coin in the purse.

2.

Turn the playing card face down.

3.

Tie a knot in the piece of string*

4.

Take three matches from the box.

5.

Turn the wine glass upside down.

also a large card

6. Unfasten the padlock. 7.

Put the dice into a pile.

8. Move the hands of the watch. The performer asks a member of the audience to help him by noting ee of the requests, and to carry them out using the articles on the tray. When the actions have been carried out the performer asks the voleer if he believes in hypnotism. Whatever his answer, the performer tes that he will prove that through his own mysterious powers he has ised the spectator to do certain things, believing that it was his own e choice. To prove his statement, he shows a large sealed envelope which he ; held in full view during the demonstration. He states that the envelope contains a card upon which is written tructions, similar to those on the large card, and before he left home, ticked three of the actions, knowing that these would be the actions •ried out by the member of the audience* The card is removed, the actions checked by a member of the audi:e, and the performer's statement is confirmed. He has predicted every ion the spectator made! Requirements:

A large card upon which is written the instructions. A smaller card, about the size of a jumbo card. An envelope to take the card. The card has two columns; one at the left side, and one at the right. The left is for the number and the other for the ticks. The last item is a thumbwriter, or similar type of writer.

SLIT

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swami gimmick

The envelope has a quarter inch cut out running its full length, which coincides with the "tick" column. When the actions are taking place, it is a simple matter to put the ticks in the appropriate places.

WITCH? Effect: Two blue backed cards are shown to be the black queens. They represent two witches, whose presence was unwelcome in a Yorkshire village just over two centuries ago. The performer shows what happened when villagers intended to punish them with their own form of rough justice. The blue backed cards are laid face down and encircled by a number of playing cards, all with red backs. There is no hope of escape for the witches, but when a spectator turns over the blue backed cards the queens have vanished leaving only two blank cards. Requirements:

Two blue backed queens Two blue backed blank cards. The rest of the pack consists of red backed cards.

Set Up: With the deck face down, place the two blank cards face down on the top. Turn the pack face up and turn over the (now) top card, and place the queens face down on the top. Working: The two queens are casually shown, and replaced on the pack. Whilst telling the spectators about the activities of the witches secretly turn the pack over. Offer tc demonstrate what happened when the villagers decided to take the law in their own hands. Deal the top blue cards (blanks) face down on the table, and deal the red cards, about ten will be enough, and place the remaineder of the cards in the pocket. Turn up the blank cards and show the witches to have disappeared. Take the remainder of the cards from the pocket, making sure that at least the bottom three cards are left in the pocket and add the red cards to them.

I HAVE BEEN HERE BEFORE Have you visted a strange town or village, or entered a house for the first time, and suddenly realised that there is something familiar about if? You seem to know in what direction to go, or look for certain objects, and discover that they really are there.

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How can this be? ve been here before. "

You say to yourself, almost unbelievably, "I

The people who believe in re-incarnation, suggest that this is oof of a previous existence. The effect about to be described is based this suggestion. Effect: Five small articles are shown: a horseshoe, an old fashned pistol, a small cart wheel, a wine bottle and a purse. Miniature t i d e s , such as these, are obtainable from novelty shops for charm acelets. A spectator chooses one of the articles and he is asked why he ose that particular item. No matter what answer he gives, the perrmer says it is because, subconsciously, he is familiar with it; perhaps t in his present existence, but somewhere in the past. Five sealed wage (or pay) packet envelopes are mixed and the perrmer hands them to the assisting spectator. He is told to think of the sentence, "I have been here before, " sn to say it aloud. He does this, and he is asked to repeat the sentence a number of nes, but for each word, he takes an envelope from the top of the pile d puts it underneath. When he arrives at the word "before", he places it envelope aside, and continues to repeat the phrase using the remainy envelopes, until he finally is left with only one. He opens it and discovers a drawing which incorporates the article has selected! Drawings for the articles mentioned in the description of the effect uld be: Pistol

- a highway man

Horseshoe

- a blacksmith

Cartwheel

- Carpenter, or Wheelwright

Wine bottle

- Inn keeper

Purse

- Money lender

- or banker

It will be discovered that both the plot, and the novel articles used 11 cause great interest in the demonstration. Method; The envelopes containing the cards are in a memorized der. and the top envelope is marked so that it is easily recognizable. When the article has been chosen, the envelopes are mixed. This done by cutting them a few times, and during the mixing, the card which scribes the article chosen is brought next to the top of the pile, the mark' card being the top one.

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It will be discovered that if the envelopes are manipulated as the words are being said, the spectator will automatically finish up with one card, and that will be the one describing the article taken by the spectator. It is possible to mark all the envelopes so that they can be given a good mixing so long as the required envelope finishes in the second position. However, I do not think it is necessary. Using a little imagination, numerous novelties can be used in as sociation with old fashioned crafts or trades. Pair of scissors

- Tailor

Candlestick

- Candlestick maker

Anchor

- Mariner

Treasure Chest

- Pirate

Quill Pen

- Clerk

Bell

- Town Crier

Violin

- Musician

Rolling Pin

- Baker

Sword

- Soldier

PARTNERS Two sets of five ESP cards are shown to be identical. contains a circle, a cross, a wavy line, a square and a star.

Each set

One of the sets is given to a spectator, and the other kept by the performer, who states that he is going to attempt to predict each card the spectator will lay down on the table, by laying a similar card from his own hand on to the table first. He ponders for a moment, then lays face down, the card he thinks the spectator will choose first. The spectator is asked to lay his card face up on the table on the face down card. When this has been done, the performer places on the two cards the next card he believes the spectator will select. This is also laid face down, and the spectator places his next card on the heap, face up. This procedure is continued, until all the cards are u sed up. The performer shows the first card laid down, and lays the spectator's card next to it. They are identical. He lays the rest of the cards in pairs, and they are seen to match. The method is based on the sleight known as the 'glide', in which the bottom card is drawn back about half an inch, and the card immediately above it. is dealt on to the table.

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Working: The spectator is handed his cards, and the performer takes the other set, I always make a point of laying the circle down first, so that I can remember the card with which I began. It is possible that the spectator will lay his circle on top of yours, in which case you invite him to pick up the two cards and check them. He discovers that they are identical. They are laid aside, and a new M starter" card is remembered It is more likely than not, that the card placed on the circle will be diiferent. The performer, in placing down his next card, puts down the duplicate, and continues to do so until the cards are exhausted. Somewhere along the line, the spectator's circle will be put on the heap. Simply place any card on the top of the heap, and when the spectator puts down his next card, place your duplicate on it. To show the cards in pairs, the working is as follows (To help make the working clear, I will give an example): From the bottom upwards they are: Circle A

Star B A

Star A

=

B

Waves

Waves A

Circle

Square

B

A

Performer's cards.

B

=

Cross

Cross Square B

A

B

Spectators cards.

The cards are picked up, and the circle is drawn back. The star is laid down, and the next star turned face up, and laid next to it. The waves is laid down and the other waves turned over and laid next to it. The next card is the spectator's circle and on this occasion, the "drawn back" card, circle, is laid next to it. The next card is drawn back (square) and the cross is dealt. The spectator's cross is laid next to it. As there are only two cards left, the "drawn back" card (square) is laid down, and the other square is placed next to it. The working may seem complicated in print, but if it is tried with the two sets of cards it will be seen to be quite easy. Magicians looking for flaws may assume that the spectators will notice that the first card dealt is face up, whereas the one laid down at the beginning by the performer was face down. I have worked this effect many times, and at no time has this been discovered- I have even asked magicians to tell me if they could see anything suspicious, but they have not- I mention this because if I did not, someone may think that this is a weakness in the effect, and not bother to try it out. I would suggest that you try it out and see the effect it has on the layman.

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V

VISION IMPOSSIBLE

i/ 1 Effect: Four members of the audience are invited to assist in a series of unusual demonstrations. To avoid confusion in describing the routine, the letters A, B, C and D will be used for the members of the committee. The performer's assistant is taken out of the room by A, who stays with her during the whole of the proceedings. B is handed a small pad and pencil and is asked to write down the various tests as they are carried out. Opening a box, which stands on his table, the performer takes four different coloured silks. C is asked to choose one, and tie a number of knots. A miniature clock dial with moveable hands is taken from the box and D puts the hands to any time he wishes. D takes a coin from his pocket and notes the value and date on the coin. Finally, from the box a pack of cards is taken, which are seen to bear geometrical designs. B selects one of the designs, and the pack is replaced in the box. The tests being completed, C leaves the room to bring in A and the young lady, and B escorts the performer to the back of the room or even outside. Before being brought into the room, the young lady assistant is blindfolded, and is escorted into the room by the two members of the committee. She then proceeds to: 1. Name the colour of the chosen silk. 2.

Reveal the number of knots tied in the silk.

3.

Tell the time on the clock dial selected by the committee man.

4.

Give the value and date of the coin.

5.

Describe the geometrical design selected from the pack of cards.

Requirements: A box, large enough to contain the articles used in the tests. The box should have a handle attached to the lid, and it must be of a type that locks.

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A pack of cards bearing geometrical designs. The most popular designs are Circle, Cross, Wavy Lines, Square and Star. The pack consists of twenty circles, and four cards bearing the remaining four designs. It is a simple matter to force the circle on the committee member with this pack. The cards should be in a card case. A miniature clock dial or watch. * A slate and a piece of chalk. * A blindfold. A pad and pencil. Four silks: Red, Blue, White and Green. Method: I will explain the various methods of working in the order of the tests. At the commencement of the routine all of the articles, with the exception of those marked with an asterisk, are inside the locked box. Test 1: A coloured silk is selected from four different ones. After the silk has been selected and the knots tied, the performer places the box on the table in the following manner. 1 1 1

1

1

1

--

TA3L.E Top

1 1 . . .

- -

1 1

1 1 1

1

1

F(ED

BLUE:

Box

WHITE

The table top is divided into four imaginary sections. Whatever colour is chosen, the box is placed in the appropriate position, though this must not be too conspicuous.

Test Z: A number of knots are tied in the silk. After the box has been placed on the table, the performer takes the clock dial from the box and hands it to the committee member to put the hands at any hour and minute. He memorizes the number of knots in the silk, also the selected time. The performer then asks for the value of a coin and the date. While D is taking the coin from his pocket, the performer takes the cards from their case and drops the case on the table. He is actually concluding Test 2.

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CARD PACKET

Closed Case

Open Case

A B C D

A B C D

= 1 knot = 2knots = 3 knots = 4 knots

= = = =

5 6 7 8

knots knots knots knots

No packet on the table = 9 knots.

Test 3: Time Test, The hands of the clock dial are placed at the selected time. As mentioned earlier, the performer memorizes the time and goes on to the coin test. The date, however, he writes on a slate and shows it to the audience, then rubs out the date and places the slate on a chair. He is, in fact, concluding Test 3. In writing the date on the slate, the performer contrives to rub his left thumb on the piece of chalk, and as he places the slate on the chair, he smears the slate with his thumb. This shows the appropriate hour. In putting down the chalk he gives the minutes.

Imaginary numbers on the slate. The chalk and the smear show the time as 8:15,

CHALK

Test 4:

The value and date of the coin.

After the value and the date of the coin are given, the geometrical design is selected, and the remainder of the cards placed in the box. The box is locked. The action of locking the box concludes the fourth test. It is for this reason that a box with a lock and a handle is necessary.

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The Illustrations show the Box from the Top View

IP

5P

2V2. P

FOREIGN CQ\M

A

For the purpose of explaining the working of the test British coinage is used, but it can, of course, be adapted to the currency of any country. 1. Handle laid to the front : no key in the lock

. . 1/2 p.

2. Handle standing up straight : no key in the lock

. , « . 1 p.

3. Handle laid to the rear : no key in the lock

. . . . 2 p.

4. Handle laid to the front : key horizontal in the lock . „ „ „ 5 p. 5. Handle standing straight : key horizontal in the lock- . . 10 p. 6. Handle laid to the rear : key horizontal in the lock

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. . «, 50 p.

7. Handle laid to the front : key verticle in the lock

. „ 2 1/2 p.

8. Handle standing straight : key verticle in the lock

..Foreign coin. „ . Crown.

9. Handle laid to the rear : key verticle in the lock

The medium has no knowledge of the date, and she makes a guess. It is possible that she may guess correctly, but if she is wrong one mistake will not matter. Test 5: Geometrical Card Test. This has already been described under "Apparatus". The assistant knows which card will be selected before the demonstration commences, as the circle is forced. The assistant, upon entering the room, blindfolded, allows herself to be guided to the platform, or wherever the demonstration is taking place. She can, however, see by looking down the side of her nose, noting the position of the box, the slate etc, and with plenty of showmanship describes the tests that have taken place in her absence. This routine is not a pipe dream, but a practical demonstration, and well presented will be received warmly wherever it is performed.

IN THE DARK Effect: Five cards, each bearing the drawing of a lighted candle, are placed in five wage (pay) packet envelopes* Five cards each bearing the drawing of a man or a woman are introduced. They are suspects in a murder case. A spectator is asked to decide which one of them is guilty of the crime by taking him or her from the rest of the suspects and placing that card out of sight for the moment. The rest of the suspect cards are given to other spectators. Each of the assisting spectators is given an envelope containing the picture of a candle and they are asked to place the suspect cards in the envelope. The performer collects the envelopes and explains that suspicion lies heavily on one particular person, and he is going to try an ancient method of detection to try to discover the real murderer, based on the alleged fact that evil men prefer the darkness to the light. Removing the suspect and candle cards from the envelopes it is noticed that all the candles with the exception of one are lit. The candle that is not lit reveals the suspect selected by the spectator. Requirements: Five envelopes, one of them marked with a dot so that it can be easily recognized.

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Five suspect cards. Five candle cards.

These can be marked "A - E1 One of them is unlit.

Working: The "five" lighted candles are shown. This can be done by using the "glide" or casually fanning the cards, the unlit one being partly hidden. They are placed in envelopes, the unlit candle going into the marked envelope. The suspect cards are shown, and one person is asked to decide on the murderer. The envelopes are handed to the spectators holding the suspect cards, for them to place the cards in the envelopes. The marked envelope is handed to the man holding the "guilty" card. This can be arranged by shuffling the envelopes, and finishing with the marked envelope on the bottom of the stack. The envelopes are handed to the spectators but when the person holding the "murderer" card is approached, the envelopes are turned over, and he is given the (now) top envelope. The nature of the revelation of the guilty party is up to the performer, for all that remains is to build up the climax and sell it. It will astound the spectators.

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