Fitzkee - The TRICK BRAIN - Chapter TWENTY-NINE

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The
TRICK
BRAIN

CHAPTER TWENTY-NINE

[This space is to denote the passing of several years, during which, through the examinations of many thousands of tricks, the following basic effects, essentials and basic methods were distilled. The result is THE TRICK BRAIN and its system of suggestions and thought stimulators].

THE TRICK BRAIN is a mechanical method of stimulating the imagination in the invention of new trick plots or combinations. It suggests possible methods for accomplishing the desired tricks. Whether the particular trick is simple or complex. Within the possibilities of human endeavor, it includes the basic methods of accomplishing all known types of tricks and effects.

THE TRICK BRAIN consists of four parts.

Part One is a list of the basic effects.

Part Two is a detailed list of the essential factors for each basic effect.

Part Three is a list of objects from which to choose subjects for the various trick plots. The magician is urged to supplement this list with additional objects of his own selection. These lists may be quite specific or quite generalized. This depends upon which type of list acts as the greater stimulant to your imagination.

Part Four is a complete list of basic methods for accomplishing each type of effect. All basic methods for each effect are listed under the heading of that effect. Where the effects are combinations, it will be necessary to refer to several effect classifications, in many cases.

The selections are not to be chosen deliberately. Rather they are to be chosen by pure chance through some numbering system such as that suggested in Chapter Twenty-seven, or one of your own devising.

Suggestions from THE TRICK BRAIN, both trick plots and possible methods, will be found to be quite generalized. This has been done to encourage originality in trick plots and methods. Specific suggestions and specific illustrations become straight jackets to the imagination.

As an example: If you were working on an identification effect and the method suggestion were a mark. It should be sufficient that the method relies upon a mark, whether the mark is made with Feiterbaum & Magellan's Super Dooper Daub, exact color matching or not. Or whether it is a bit of tobacco stain taken from the cigar chewed by a John Scarne. Or red or white or blue. Or even the slash of a meat axe. It makes no difference what color the mark is or how it is put on, providing there is a good, logical, unsuspicious reason for using the specific marking method.

It's your trick. Figure out your own way of making the mark, even if it is nothing but the footprint of a gremlin.

In working with THE TRICK BRAIN make a random selection of an effect. Consult the list of essential factors and make the selections as detailed there. From this you should be able to construct a simple trick plot. Add the details necessary to complete it.

After you have the trick plot, make random selections of basic methods.

This, then, should give you an original trick and how to do it in generalized terms. All that is left for you to do is to work out the specific details.

CHART OF NUMBER VALUES

To make selections, thoroughly shuffle a deck of cards. Cut the cards and take the number corresponding to the card turned up. If the number is too high for any particular selection, continue to cut until you get one within the desired limits. It is essential that the numbers be selected at random in such a manner as this.


 1D- 1  1C-11  1H-21  1S-31
 2D- 2  2C-12  2H-22  2S-32
 3D- 3  3C-13  3H-23  3S-33
 4D- 4  4C-14  4H-24  4S-34
 5D- 5  5C-15  5H-25  53-35
 6D- 6  6C-16  6H-26  63-36
 7D- 7  7C-17  7H-27  73-37
 8D- 8  8C-18  8H-28  83-38
 9D- 9  9C-19  9H-29  9S-39
10D-10 10C-20 10H-30 10S-40
 JD-41  JC-44  JH-47  JS-50
 QD-42  QC-45  QH-48  QS-51
 KD-43  KC-46  KH-49  KS-52

LIST of BASIC EFFECTS

NOTE: If a combination effect is desired, make selections of basic effects to the required number-two or more. Usually combinations of more than three effects are too involved for practical demonstration.

Creation, production, appearance.

Obliteration, vanish, disappearance.

Transposition, change in place of location.

Transformation, change in appearance, size, identity, nature.

Penetration, solid through solid.

Restoration , re-creation after destruction .

Animation, animation of the inanimate.

Levitation, anti-gravity.

Attraction, affinity.

Sympathetic reaction.