Desarrollo de marcos teóricos de políticas públicas

Cut out ten little cards about 1 1/4 inches square. On each, letter the Number 4 rather large so that it can be seen from a distance. Use yellow or white cards and do the lettering in black. Figure 41.

Take ten more of the same kind of cards and letter each from 1 to 10, respectively, in the same way that you did the ten Number 4 cards.

Place the banana on a plate. Place the ten Number 4 cards into the pocket of the cloth bag and put this bag beside the plate. Put the ten numbered cards and a dagger or knife also on the plate.

To Perform:

This experiment works out nicely when you have two boys assist you. Request that two boys come up from the audience. Get their first names. Let us say that Frank is at your left side and Paul at your right. A little back of you and at your left is the table with your paraphernalia for the trick.

"There was a man by the name of Abe and he had a girl by name of Anna. 'Well, well,' said a gentleman as he saw them coming down the street, 'Here come Abe and Anna.' (a banana)."

Pick up banana from plate.

"And that is why, Frank, I use this pineapple. I am going to give it to you to hold, all of it. You see, if I gave part of it to Paul and part to you, it would be a banana split. So, Frank, you are to be chief custodian of the banana.

Look it over carefully. Never having seen a banana before, I thought perhaps you might want to have an extra good look."

Give banana to Frank and have him examine it.

"Now, give the report of your inspection to the audience. Bow and say, 'Ladies and gentlemen, I find this fruit to be a bona fide banana.'"

Have the boy repeat this. This is good for a little byplay and comedy touch.

Pick up the numbered cards from plate and the bag.

"Paul, here are ten cards bearing numbers from 1 to 10, each different. Hold out your hand."

Place the cards in his hand one at a time, naming a few of the numbers as you go along to show audience that each is different.

"And we have this little cloth bag."

Turn bag inside out, keeping the cards inside from falling out. Show both sides of the bag. You will have no difficulty in showing it empty and yet keeping the cards secure inside. Figure 42.

Turn bag right side out again.

"Place the ten cards in this bag, please, Paul."

Hold the bag open with the fingers of both hands. This holds the fake partition tight against one side of the bag and conceals the cards already there. Figure 43.

Paul drops cards into opening of the bag.

Take your left fingers from the bag. Let bag hang down from right hand, holding the opening away from audience.

"That's right, Frank, hold on to that banana."

Turn bag towards you as you talk to Frank. Reach into bag again, but this time insert fingers into fake pocket, pushing the middle partition back against the other side of the bag to conceal the cards Paul placed there and to expose the ten cards each having a number 4. It would never occur to anyone that these cards are not the ones which the boy placed in the bag.

"Paul, reach into the bag and take out one card -- any one card that you choose -- any one of the ten numbers."

Paul reaches in and takes out a card.

"What number did you take? FOUR? Oh, yes, that is the number between three and five."

Place bag on table, opening away from audience, or if you desire place it in coat pocket. Pick up knife or dagger from plate.

"Frank, I suppose you have been in Spain. No? Then you have never seen how they slice bananas in Spain.

Well, Paul, we'll have to show him. Once upon a time, it wasn't polite in Spain to eat sliced bananas. You were supposed to hold them up whole and take bites, one at a time. Now, the Queen of Spain was giving a grand party, and she was serving bananas whole, like this with their overcoats on. But old King Cornucopia liked his bananas sliced and told her so. The Queen, however, said, 'No, Kingie, it isn't in the etiquette book, and you mustn't eat them sliced until they grow that way.' That gave the King an idea and he called upon his magician, who gave him a knife just like this one and told the King that every time he waved it all the bananas in the room would slice themselves.

"Frank, hold the banana up high. Now, what was the number you selected, Paul? Four? I shall wave the knife four times just like the old King did. Every time I wave, the banana slices itself once. One- two- three - four."

Wave knife four times and count for each wave. Lay knife down on table.

"I will take the banana now."

Take banana from Frank and hold it over the plate on table.

Peel it up to the first cut, jerk hand a little, and let the first piece fall into plate. Then peel to second cut, and continue until you have peeled the whole banana and let the pieces fall one at a time onto the plate. Count each piece as it falls. Figure 44.

"One -- two -- three -- four."

"And ever since, the King had sliced bananas because he said they grew that way."

LESSON 15

In this lesson you learn four more of the finest card effects in the World of Magic. Two of them are given to you by two of the world's greatest magicians.

1 -- The Conjurer's Touch. Performer gives deck of cards to a spectator, who removes a card, shuffles it back into the deck, and then returns the deck to performer. Magician places it in his pocket. Spectator calls out suit of card and magician instantly pulls out a card of like suit from his pocket. Number of card is called out and magician immediately pulls out a card with the same number.

2 -- A Mysterious Discovery. A favorite card effect of PERCY ABBOTT, famous Australian magician.

3 -- "Marvello" — An experiment of T. NELSON DOWNS,

world famous coin mystifier, in which two selected cards placed in an examined envelope suddenly change places with two other cards in a spectator's hands.

4 -- An odd experiment in which any one of six cards placed in a sealed envelope mysteriously appear in an empty hat.

LESSON 15

Step by step the great Magic of Cards is being made known to you. Card magic in its simplicity and its complexity is being laid before you in such a way that it can easily be mastered.

Do not lose sight of the fact that you must first learn the alphabet and pass through the preparatory schools before you can go to college.

Every sleight, every principle which I teach you has its purpose and every effect, simple or difficult, has its place in the great scheme of the whole. Consider nothing which I give you in this course as too simple to spend much time with. What to you now seems simple is something which for me has meant years of study and analysis to perfect and simplify. I have taken some of the most difficult moves and effects in magic and have made them possible for you to learn quickly and easily without the use of cumbersome and expensive apparatus and with none of the old effectiveness lost.

And, on the other hand, consider nothing which I give you too difficult to learn. It takes practice — faithful practice — to become a Master in anything. You are building for a big future and you must lay your foundation strong and solid. With each practice period the difficult moves become easier and before long you know that you have a real accomplishment.

Your ultimate goal is to have your moves become so much a part of your consciousness that you perform them perfectly and automatically. Then as you perform, your thoughts will be concentrated on SHOWMANSHIP and the Mastery of the Art will be yours.