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VOLUME lS NUMBER 1 SEPTEMBER 1982

BUMPER ALL-TRICK ISSUE

Two spec tators a.e invited to choose any One wallet, - no fo rce o f any kind', they may exchange walle ts with each o the. o r they may exchange theil wallets with you ... it doesn't make any di fference.

A SUPREME EXCLUSIVE I

CLEAR CHANCE

You take the 'emaining .... alle t a t your eXtTeme fingenips, pull fro m i t the single playing ca rd that it contains. Behind this c ald is a genuine r.5 $100 bill! Yes, it's genuine!

a.

Meanwhilc, the !o-pec tato rs ca n pull o ut their cards and cxamine them and the clea l wallets if they wish , - but they find that apa n from the ca lds their wallets are empty. "Of cour se", says the magician, " I knew that you wo uld leave me with the Ace o f HeartS" (0 1 whatever the clud happen s to be ) "bec ause you see the back of my ca rd is a ti ttle different to you rs" ... indeed it is, the spec tato rs' card s ale blue_backed and whe n the magician turns the card he was left with ave . , it is seen tha i this is wh ite. Wriu en on the bac k in big, bold, blac k let_ te ls ale the wo rds "1 KE EP T HE CASH"!" Supl eme CLEAR CHANCE can be used close-u p 01 it can bc used on-Sla gc, _ always ready and - ge t th is - at the end, everything , and ",'e mean EVERY TH INC, can b(l eKamined without the audienc e ge t ting a single clue as to the cunning methods used. IAN ADAIR and MICHAEL HOOPER 1'.01 10gethe . on this one, - a s a .esu ll , Ihe cleaoest, most novel, offbeat 'Just Chance' lOudne you will ever see. Th re e clea r plastic wallets these wallets the haJlds a re the .... alle ts ou t, each wallet the magician c an sta te that something 0 1 value.

A Supreme

are sho wn , apan 110m em pty. Magician fa ns conta ins a playi ng ca ld, one 01 these ca . ds hides

The instructions ale especially concise and made easy fo r you 10 follow by nine d rawing s by Mic hae l Hoope r. We

say this is GOOD , we

think you'll agree

with

",. You receive everythinf, complete, e xccpl the money! P rice, 0 .75, (U.s.A. $7.(0).

Exclusive .

EASY EVERYWHERE AND NOWHERE by Ken de Courcy

" Everywhere and Nowhele" is II cl a~s i c plot whic h , due to the difficulties in perfo rma nce, is ra.ely seen. The o rigi nal version calls fot eKceptiona[ apeasiest tirude in c3rd--cket . Try playIng a bout with thi s little fake and yo u'll find there .He lots o f possibil ities.

Bunny Topper .... is TOPS! ''Many thankS for B..tnny Topper JUSt received from Supreme. Once again Edwin Is guilty of under s elling a lovely kids ' trick. Who on earth permitted him to call [t a pocket trick in the advertising? I ' d been expecting a r ehash of the old Hen Fetsch 'Kard Kut' and that Demon red and black squares thing of yesteryear . n. T. is a big improvement. I'm hoping to p.1t It in my s ummer shows as a s tage item . I have some handLlng and patter ideas with a twist to the cli· max. If they work out O. K. I'll write it up for MaglgTam tn Autumn.

9. Without peuslng, slide the QC away from the QH. The coin will go with It un seen by the Spectators. IO. Wave the pencil over the tw O cards then turn the QH fa ce up with the point to s how that the coin has gone. Flip the QC over to show where It has gone to. Place the pencil to one s ide.

11 . With the right fingertips pick up the coin a nd drop it onto the QC. Pick lip the QC by the edges and, balancing the coin In position, place them onto the l eft fingers as in 1. 12 . With the right hand pick up the QH and turn It race down. Place it on top of the coin. 13 . Now the moves are s\mUar to thot>e performed earlier. Slide the QC out from beneath the

34

'1n the meallWhile can you drag that cunning dev il, Kennaugh, who devi sed B. T. away from wrltlng articles fo r Weekend. Titbits, T. V. Times et al and persuade him to let Supreme have a few more of his ingenious notions? " Myster Yaffe, Truro, Cornwall.

IT'S IMPOSSIBLE SINC LAIR

Por many years now J have presented effects u sing the method of forci ng Il card by that old dodge of having the card at the tenth position Crom the top of the pack and asking for a number be -

fourteen are added together, what wUl that be? The lady states, FIVE ( one and four added together make five) 80 performer now COunts olf four cards and the fifth card the lady takes . (Say It Is the THR BB OF CLUBS). Now a ll the cards are placed on top ot the pack and the whole pr ocedlre ckme again fo r the second numbel" ( 17), which will give us the final number a s Eight (I plu s 7) and the eighth cud Is handed to the lady (say this Is the QUEEN OF H EARTS).

tween ten and twenty . then counting of{ the s elected number (say Sixteen), then, by adding the one a nd slx together, we have the Clnal number of s even. Pick up the counted pa cket and naw count aU from the top one card at a time up to seven and the seventh ca r d will be the force one . I was playlf!g about with this la s t year and came up with Iln effect which I put Into one of my s how s. One of the spec tators at the end of the s haw s ald, "It' s [mposslble", hence the name given as above. Now with Jumbo

cards we have a stage effect. EFFECT

Two packs o [ cards are put on the table in front o f a lady and a gentleman assistant; born packs are new and still sealed. The lady Is given the choice of packs, Red o r Slue, the pack chosen i s the one she will use (you explain as It Is a free choice). T he lady breaks the seal s and tips out the pack onto you r ha nd . You then explain tha t all packs are made up the same way 50 the cards are in the s ame o rder and here you show the faces to the audience to prove this. The lady then shuffles the pack and hands It to performer who places it on the table and picks up a white card and a black felt-tip marker. On the card can be seen tbe lett ers lA ' and. under this, Is the letter 'S' . The ca rd and marker are handed to tbe lady with a request she th inks of any number between ten and twenty. She can, of cou r se, change her mind a s much a s she like s but in the end you are told she ba s decided on the number. You then a sk. her to put the number alongside the letter 'A' . TIlls done, a second numbe,r is requested and put alongside the letter '8'. Just say the numbers are 'A' Fourteen and 'B' SevelHeen. Performer now picks up pack and countS off from the top fourteen cards onto the lady 's outstretched hand. PUnlng the res t of the pack down, performer now picks up the fourteen ca,r dS and mentions odd th Ings that can take place with numbers. Thi s Is known .1 8 numerology, etc . etc . He tben uks tbat 11 the two figure s of the number

35

The position at this stage is the lady holdi ng two cards which are (he 3 of Clubs"and Queen of Hearts and the gentleman Is still holding the sealed pack. As all the cards have been face down, it i s Impossible for anybody to mow the values of the c ards snd the lady had a free choice of packs and she her self selected the numbers. AU this can be s t ressed a s i t Is true. Now , turning to the man, a sk him to break open [he seals and remove the cards from the card case and join you at the table on which is s tanding a card easel. Performer asks him to Spread the cards PACES SHOWING along the s tand. T he cards are spread r ight along and it is seen that"!WO cards have the SACKS SHOWING. The lady Is now requested to look at the two cards s he is holding and to name them alou d, then to turn them towards the audience so they can see she is co rrect. The m.n IS then r equested to remove the two ca rds with the backs show ing and turn them round and, of cou r se, they are the Same as the Ca rds the lady Is holding. The THREE OF CLUBS and QUEBN OF HBARTS. Eud of eCfect. Thi S is a real s runner on the stage with Jumbo cards, large enough to be seen In most hAlls, no worries fo r the performer and can be used In a magic o r mental act . ItEQuIAED

Two paCkS of Jumbo cards which a re new Qnd sealed ( more o f this la ter). One pack Is Red and one Blue. A ca rd ea sel large enough to take the Jumbo pack when it is s pread along It . A p iece of whlte card (or s tiff paper) aboot twelve Inches by elgtlt Inches on which i9 a large letter 'A' nea.r the top and the letter'S' near the bottom . A black fel t-tip marker and, of course, you r cable. $ETl'JfiItO U"

Pirst s team open the s eal s (if Revenue Stamp seal s are on) and remove the RED pack. If you

really are using a NEW pack the cards will be In a cer~ln order. Without di SbJrblng tbe order of tbe cards, run through the pack and turn over the two force cards (3 of Clubs and Q of Hearts), replace puk and re-seal. Next take the blue pack and remove seals as for the red pack and remove from the pack the two force cardS plus NINE other cards (eleven In aU). Place these cards a side and replace remAinder of pack Into card case and reseal. Pla ce down on the table PACE UP the NINE Indifferent cards and on top place the two FORCE CARll;' The complete set-up Is placed on tabl e FACE: UP and on top place the white card. so setup Is hidden.

celloptlFold on *'t\eJd 1~"

The presentation takes place as in effect and It Is all automatic . After Ute lady has disclosed the numbers you Simply pick up pack from table where it was placed tbwn ON TOP of the ELEVBN cards ALL FACE UP as you picked up the card for the lady to put on her numbers. tn effect, a s soon as she has shuffled the pa ck, take it from her and place it on top of the eleven face up cards as you take up the white card and marker, a natural thing to do so, when pack Is again picked up, you have added the SET - UP to the top of a now FACE DOWN pack . Now you count dawn slowly one card at a time to the given lD.Imber (In this case, 14), pla ce pack d:Jwn and take up the 14 cards add the digitS to get nve, then count off FOUR c ards and the fifth card will be one of the FORCE cards. The position here Is there will be FOUR cards on the table (the top one will be the second force card) the lady wll1 be holding the rint card a.nd In your hand will be NlNE cards. Slmply drop these nlne c ards ON T~ of the four cards on table and add them to the TOP of the r est of the pack. Repeat fo r the second number and you are aU set for the final disclosure as In effect, the man fi nds the two reversed cards In his pack.

36

Suppose the lady selects the RED pack, Simply leave It w ith her and turn to the man with the setup pack and carry on as you would have done with the lady. I have found that women go for the BLUB pack nine times out of ten; if not, it wUl be the man who gives you the numbers between ten and twenty.

Now with regard to the seal s on the packs of cards. In the old days a new pack USed to have a wrapper round the card ca se which was sQJck down and had a Revenue Stamp on which al so seal ed the wrapper. One had to be very careful not to damage the stamp if one had to set the pack up Ln a ce rtain order for an effect. I do not knaw how new paclcs are s ealed thes e day s in Bngland, but up here In Orkney new cards are wrapped in a 90rt of cellophane kind of material. This Is stronger than the cling-foil used for wrapping food. The pack of cards here are In a kind of envelope made from this cellophane and the pan of the e nvelope which Is the nap Is s ruck cbwn with a small circular tag. Sometimes this Is a gold or blue colour. It is a Simple matter to remove the tag and replace it alter setting up the pack. However, at each perfo rmance !WO wrappers are destr oyed and, as we c an not anord to buy 'nYO NEW packs each time, we can replace the wrappers. To do this you will have to obtain from the stationers a roll of clear cellophane wrapping paper and cut out the envelope shape to enclose the pack In Its case and use the coloured tags which you can al so ruy in different Sizes. These are sold In s mall packets in different colours. To make the envelope, I 8UggeSt you first of all make a \dnd of template with a piece of newspaper. Just place the pack ( In the card case) oown OIl an oblong piece of paper and fold ove r to enclose pack so the e dges overlap, then trim off any surplus paper, Having made the pattern, peace It on the cellophane and cut out the shape, wrap pack in this and seal with the coloure d sticker. By doing this and keeping the two pac ks just for thi s effect alone, you will be able to use them for seve ral shows before the cards a.r e too grubby to uSe. Of course you need DOt use s ealed packs, rut I find that presenting s ealed packs for this effect makes It look more ImpoSSible, the Audience see the a SS is tants tea.rlng off the wrappers and lUke this.

'P .M. RISING CARDS' SIN C LA.IR

Dur ing my fifty· five years of magic I have seen and performed many m ethods of th e risin g

car ds u s ing both the normal size cards and jumoo size to one effect using cards two feet high . Out of a ll that pretty lo ng list I found the best method was, 1 feel sure, the oldest. So ( spent some time

thinking about this anO came up With aLI cCfcct wh ich is easy. trouble - free and, In these da ys of innation, costs very tittle

Just ImagIne , you place a pack of cards on the table requesting the y be shuffled and for three members of the audience to take ou r any one card each that they fancy . The three cards may be marked . The pack Is then placed Into a simple houlette and the cards are then taken one a t a time and pushed oown Into the pack about the centre . Then, holding the hou lette, the same marked cards rise in the usual manner, after which the pack Is removed and placed back onto the table together with the houlette and all can be examined, there i~ no thing to hide . Inter ested? Read on.

SELEC TE D CARDS ARE

PUSHED IN IN

SM A. LL BEAO

HOULETTE

®

/1 1 I\.

REVER SE ORDER

( TH1RD , FIRST , ETC.)

(

I

II FACE OF PACK

DOUBLE CARD TWO CARDS

STUCK TOGETHER

®

EDGE VIEWOF PA CK IN HOULETTE

METHOD

It a ll started after 1 had performed the Devana You will requ ire a 'gimmick' . This oons[s[ s ris ing card cHeet when one of the spectators (it of two cards sruck together , (I u se the Eight of wa s at a s mall intimate gathering) produce d a pack" Clubs as the face card with a Joker stuck on the o f cards wilh the rema r k - "Here, use my pack. " back). Thus you have a thick clJrd. This in itself And he the n removed three cards which 1 had to is II. very good 'locator '. • 'make' r i se from the pack . To d::I this 1 had to have the ca r ds returned to the pack, make the How ever, before putting the two cards to · usual moves to control the cards to the top and gether, trap a length of Invi Sible thread between then, whilst holding the paclc upr ight, to push the them . The best way to do this Is to apply 'copy · cards up o ne a t a time trom the back , Also, as I dex ' on the back of the face card then pst the end of had fol k all round me, I had to cover the pack with the thread near the top or one end oC the card, a borrowed handkerchief , I had got away with it then take It down to the bottom a nd back to the top, bu t what a lot of messing about - and I later then place the second ca.rd on lOp, press together worked ou t a method so Simple I have ""onrlered and leave to set. You should now have a doublewhy it has oot been thought of befor e, Perhaps it card with a length oC invisible thread StiCking out has, but In all the books I have read I have never ·of one end. The thread shoul d be about in the seen it in pr Int. centre of [he e nd of card.

37

Now to find length of thread required, place this thick card on face of pack so the thread is running across the top of pack (see Figure 4) and push in three cards. The fir st card is near the gimmick, then a gap and another card, another gap and rhe third card. As the cards arc puShed down Into pack, the thread is also pushed down. Now hold the pack in a firm grip (if not, the cards w ill ri se) and cut the thread about one inch below bottom of pack . On this end of thread secure a smaH bead - BLACK. This is shown in Figure 4.

and push silk through fretted front to prove nothing there. It can, of course, be handed out if requi.red. Gimmick will now be face card of pack and, for the first card to rise, cover hou lette with silk (reason for hav ing sUk on table). Houlette can be made of stiff ca rd covered with a coloured 'Fablon' • Allowing time for things to set, the g immick and houlene can be made easily in 'two hours.

P.S. The P. M. is for Poor Man's Rising Card.

SQUARE-CIRCLE BOTANIA

FRONT OF PACK

( ·~f""U-.-L-E--+N-V-L-O-N-T-H-R-E-

®

JOHN YEAGER

.lo • l ACROSS

CARD

EFF ECT

TOP OF PACK

The following littl e addition to the popular Square-circle may be of interest . From you r Sc outiit you produce your normal load of silks . Then, at the conclusion, the cabinet and tube are removed to reveal a large bouquet of flowers on the baSe.

The rest you will by now know. Simply Plll down on thread and the cards will rise. The card towards the r ear of pack will rise first and this should be the card which was selected first, so in perrormance the last card chosen Is the FIRST card to be pushed down into pack.

In performance, the pack is dropped into the houlette with the thread hanging oown at the ba.ck. Pick up wand in right hand (left hand holding houlette) holding it at one end. The opposite end of wand is waved slowly over top of pack to make cards rise. The reason is that the hand htlldlng end of wand al so takes hold or thread (the bead here makes th.ls easy) so you call pull thread as wand is making passes over top of pack:. You can also move left hand sHghtly forward for the last card.

I . . ",.,."'"'"' " "

(.3:

.~~ FOLOEO SP"ING

fLon",

~"

"

OF WR ING FLO""RSOO noAOUG" HOLE IN ",SI! AND ARE TIED TO

-~{.rilii, -~

"ING ONOEJlNItATM

N~ft.

•

To finish, tip all cards out or houlette onto table and you can give it out for examination if SECRET required. Then pick up pack: leaving gimmick on The Ulustrations should provide most of the t9ble or Simply riffte from face of pack to gimmick information. The l oad tube is divided in the centre, (this is oow a locator), cut pack so gimmick is now as shown. The usual s ilk load goes in the top half, face card and palm it o ff. while the nower load is in the lower half. Use spring flowers for this and drill a small hole throIf you are ~ using a oorrowed pack you can, ugh the ba se- piece through which the strings are for platform use, have 8. longer length of thread pass ed and tied to a small bone ring underneath. secured u> nail at back of table, ailow enough thread so yo u can pick up pack to waist high. To At the conclusion. the cabinet js first removed. load gimmick, place it face down towards back Tilen lift up both rubes together which allows the of table with "thread hanginp; dOlNn, cover with spring nowers to expalld. And there you have an small sUk. Have pack Shuffled~ etc . and, after inexpensive botania. that s hould add much to your three cards are removed, drop pack face down on program. gimmick as you pick up s ilk together with houlette

38

As the gentleman carries out th e in struction, you casually a s k specta tor No . 2 and spectator No . 3 to pick up any twO packets, after which you ask spectator No. 1 to pick up the remaining packet In hi s hand.

" MY WORD" ARUH BONEAJIEE (carcutt..

Next, you request ea ch !lpectator to look at hi s cards, then remember the name of one out of three object s. Thu s, alter each specta to r mentally notes a name, you will have to take back the nine cards from them. However, you do 90 In three rounds, while you memorise the names of nine objects in a ser ial order a s follows: First you a sk spectator No .1 . then spectator No. Z and then spectator No. 3 to give you a ca.rd Crom their paCkets, which you now place in a fa ce up raw upon the table from your left to right. -The following close-up mental effect was derived (rom Robert SclIwarz IngenIous card trick. 'Lie Detector'. InCldeotally. to perform this effect you must be profficlent In the 'Me mory Feat' as you will have to memorise the names of nine different

objects as these names are sel ected by a spectator at random.

U so, then the following effect i s meant (or you~

REQUIREMENTS

You requlre a ooz en blank vlslting-cards ,_a felt pen and a packet of B.S.P. Cards. Also, you must remember the standa rd values of three

a.s,p.

symbol s - Circle stands for 1. Plus stands

(or 2, Wavy lines s tand for 3. You are now ready to present the eUect. HA NDLING

Before you s tart, mentally number three persons a8 No. I. No. 2 and No. 3. Now give nine blank cards and a felt pen to spectator No. I, while you ask him to note down the names of nine different objects aD these cards that he can see In the room. Looking around, the spectator notes daw-n names of nine obj ect s at random, after wblch yoo ask him to turn tbe packet of nine cards face down, mlx tbe cards thoroughly, then divide same into three groups of thre:e cards each on the table.

39

Ncxt, taking out the packet of E.S.P. Gards from you pocket, spread the cards between your hands, then look at them while you also occasionally look at the three cards placed on the table. Thus, to tbe spectator It seems you are mentally cheCki ng the names of three dlfferent objects, as these appear on the three cards, agaInst the desIgn cards (l.e. E.S.P. Cards) to your hand ...... Actually, you sre taking a little time to memorise the names oC the three objects, a s these names appear on three cards a s No. I, No.2 and No . 3 word in your memory list! ( Thanks to your Memory Code, you can memorise the names rapidly~) Obviously, you memorise these words a s they appear on the three cards from your left to right. Next, you a sk the three partiCipating s pectators to state whether anyone sees his card ill the group of three cards placed on the table. Let us say spectator No. 2 says that he finds hi s cud In this group. TIws, {rom your E.S.P. Packet you [lOW gtve a card (the circle) to spectator No.2, then ask him to look at this deSign card. while he thinkS of his selected object 'Deeply'. In other words, by giving a Circle to spectator No.2, you mark him as the person whose selected card belongs to the first group of three cards - 1. e. No. 1 - 2 - 3 group (you will remember, C ircle stands for 1). Now pick up the three cards Crom the taNe and drop tbem into your pocket.

Again, taking back a second card {rom each spectator, according to their serial nu mber, you place these In a face-up raw on the table from

you r left to r ight. As before, 1>llreadi ng the packet of E . S . P. Cards between you r hands, you look at these cards whUe you al so occasionally glance at the three c ards placed on the ta ble. In o the r words, you steal a little time to memorise the names of the three objects, as these names appear on three cards , as No . 4, No . 5 and No . 6 words In your memory list. Now you ask s~c ta to r No. 1 and spectator No.3 to state whetner e ither one sees his selected card In this group. Let us say th is t ime both the specta to r s say they do not find their cards in this group. In this case, you Simply pick up the three ca r ds from the table and drop them into you r pocket. As before, taking back the remaining card from ea ch spectator according to their ser ial numbers, you place them In a fa ce up row an the table from left to right. Again you s pread the pac ket of E.S.P. Cards between you r hands to apparently check the names of the three o bjects agains t the ' Design Cards ', whUe a ctually you me mo ris e the names of these three object s a s No . 7, No . 8 and No.9 words in you r memory li st. Now you comment (as it should be in this caSe) both the remaining persons s h.ould find their sel ected cards in th.is group as they have not seen their ca.rds in the previOUS group s . Thus, as bott> spectators confirm this fact , you now give a card with Wavy lines to ea ch of them fr om your E . S. P. Packet, then a s k them to look at these deSign cards while they th.l nk of their sel ected object s ' Deeply' - In oth'er wo rds , by giving a card with Wavy JInes to spectator No . 1 and spectator No.3, you Simply mark mem as the persons whose selected cards belong to the third group of three cards - I. e. No. 7 - 8 - 9 group (you wUl remember , Wavy lines stand for 3). Now pick up the three cards from the table and drop them into your pocket. Now you commenl you will try to divine each spectator's selected object With the help oC his symbol ca rd (you are telling the tru th: ) You take back the E.S.P. Card Cr om spectator No . I, then look at It intently - a c.tually, you now talee a littl e time to so rt out mentally , 8 S spectator No. 1 wa s given Wavy lines hence his selected caJ"d must belong to the 3rd gr oup of th.ree cards - i. e. No . 7 - 8 - 9 group. Further, as the spectato r 's Ima ginary serial number Is 1, hence his selected carCl mu st be the fir s t card In the third group, I. e.

40

No . 7 Ca r d. Thus, mentally going through you r memorised list of words, you reco!iec t No.7 word then tell the same In a novel way, a s fOllows; As you loo k Ilt t h.e spectator's E . S.P. Card Wavy lines , you com ment, "Gentlemen, as I loole at the wavy lines , I get a thought-wave: It seems to me, I can almo st see some Electr ical W aveS~ - can It be you a r e thinkIng of that ' symbol of motion', i. e. CeHlng F an - Am t Right'" Obv iously. the gentle man will smilingly confi r m the fa ct, that being his selected object - I. e . Ceiling Fan : ......... . Next, taking back the E.S . P. Ca rd, (Circle), from spectato r No.2 you look at It while you mentally sort out, a s Spectator No . 2 was given a card Ci rcl e, hence, hIs selecte d c ard must belong to the first group of three car dS, i.e . No . I - 2 ~ 3 group. Funhe r , a s the spectator'S serial number Is 2, hence his selected ca rd must be the 2nd card in the fir s t group, L e . No.2 Card. Mentally go~ ing thrOUgh you r memorised li s t of words , you recoll ect No.2 word, then tell the same exactly a s before. Obv iOUSly , the gen ti eman will confirm that being hi s selected card. Fo r tb.e last round, to make the presentation a little different we talee a free and frank help of 'Straight OJrves', as desc r ibed in 'A nother Boo k' (hence read that book, whlle 1 pay my due thanks to Karrell F ox:). Taking back the last B. S. P. Ca rd, wavy lines from specta tor No . 3 you look at it whil e you mentally SOrt out his selec ted object exactly a s before. Let us say, you de r ive the th ird spectator 's selected object as a Refrige r a tor. Now you take out a blank card from your pocket. p ick up the felt pen from the table. intently look into the spectato r 's eyes for a while, then go through the handling exactly a s 'Straight Curves' . Thu s , a s you IInl sh up writing oown the word 'Refr igerator' on the blank card, every one looks quite s urpri sed whil e the third Spec tator will confi rm the fact, that being his sel ected object, I. e . Refrigerator. And that brings the climax to this effect! .......•

So that' s all about the Effect and Secret Handling for the same. However , I s hould once mor e str ess the po in t-actual d lstr lb\Jtion of three E . S.P. Cards will vary a cco rding to In which gJ"oup ralls ea ch o f th r ee spectator s selected cards . Obviously your patter-theme wUl also va ry a ccording to distribution of these ca.rds . Lastly , J wish you a Happy 'Word - Finding ' Game ! . • .. •.... . . . .• .

FABIAN MINI OIL AND WATER WRITT EN AND PHOTOGRAPHED BY WILL AYLING

The "Oil and Water" effect ha s been the

The cards are stacked in the follOWing manner, from the top down . The cards face up. Red, Bla c k (with a RED BACK), Red. Black Black.

5ubjeCl of many variations for Card Worker s and here Q) tombint contributes one that can be used complete in itselC, or included In a more

photograph One.

complex routine . IN P E RFORMANC E

Holding the packet of cards fa ce up in the dea ling position, the cards are then spread keepIng the la st two cards a s one so that the s pec tator sees only fout" cards, t"eds and blacks alternately. Photograph Two.

In effect, mbled red and blac k cards separ ate then the backs change and eventually all the

cards become black.

, •• •••• •• • • . • •••• +.

. . ------

':}

I

"

0.

The packet is squared. the n tu rn ed face down and the top card is dealt on to the table . A glimpse of the fa ce may be given a s the pe rformer oon firms the fact, say ing "Bla ck" .

Five cards are required. ahhough it will be noted that me spectator wilt on ly be aware of

four. Three black cards , say Five of Spades

The second card is now placed 00 top of the fir st one wi th the comment "Red" . It will be realised that this is , t¥,wever, a black card.

and two red cardS . say Bight of Diamonds. One of the black cards has a RED BACK whLlst the

remaining four cards are BLUE BACKED.

41

The right hand now takes [he cards from the left hand. gripped from above somewhat s imilar to the "Biddle" hold and slides off the bonom card w ith the left fingers and displays two bluebacked cards, commenting however that these are the remaining Red and mack value cards. The action is slmUar to the initial move of the ASCANIQ Spread. Photograph Three.

cards are again fanned (keeping the last two cards as one) shOWing four cards again alternately, Red, Black, Red and Black. The r outine and moves are now repeated up to the slruation where the two cards on the table are turned up and shown to be Black. and the cards In the left hand RBD. The replacement of the cards from the table now differs. ,. the bottom red card Is this time placed on the top of the two cards held as one in the left hand and the black cards from the table are now placed on top of this packet In the left hand. The order of the cards from the top . •. is now Black, Black, Red, Red, Black (this one with RED BACK) . The packed is squared and held in the right hand in the position ready to perform the "Hamman" count. (Photograph Four) . Turn the hand over showing the back. of the bonom card. Then the hand is turned back . The top black ca.r d is sUd Into rhe left hand, followed by another Black and then the red, " leaving in the right hand the remaining red card, but in actual {act, twO cards. The red In the left hand Is placed on top of the cards in the right, followed by the two black cardS, and squared •.. The pos Ition Is as before.,. Black, Black, Red, Red. Black with the red back.

Thi s spread (originated by Arturo De Ascanio) Is designed to con cea l one or more cards whilst showing several other cards and was probably first recorded in the Hamman Folio by Karl Pu lves ••• a complete description may be found In Jerry Mentzer ' s book on counts. But to continue. The fact is regi stered that the cards sOOwn are BLUE backed , although no direct mention Is made. The cards are squared faced down in the left hand.

The two cards on the table are now turned face up a nd seen to be both black cards , The cards are then turned over and slid apart as in the previous move showi ng two red cards ,

It Is necessary to perform the Bl msely count . .. showing FOUR BLACK CARDS (Photograph Five), Deal the two top cards into the right hand without however reversing the order so that the spectator sees three black cards and then place the two cards in the right hand below those in the left hand and square them and. in returning the cards to the pocket, allow the bottom card with Its red back to be seen . This caSual type of presentation makes for considerable Intrigue,

4 Tile Ted .cards are squared and the black cards caken from the table and placed BELOW the red cards In the lett hand; all are, of course, face up . Then tapping the cards In a "magic" gesture, the

42

A ROUTINE FOR NOAH'S ARK ARTHUR SET TERINGTON

I have used Supreme's Mr, Noah, for quite some time and I have found that . with p lenty of audience participation, It goes down very well . In my book, "Magic , Fun and Gamea". I mentioned a chorus used with this eUcct, and I have regularly used this along with some sound effects,

...

~

" Now, young man. We need som e wind. Are you good at blowing?" (Boy blows ). ''That 's very good, but it c an't be heard. Never mind, I have a wind machine" . (Produce hOrn) . Blow it. Eve ryUme the horn is blown the performer jumps a8 though It were unexpected , and as though he hated the sound of it . It Is amazing the laughs thi s brings from the children . "Now, when I say 'Wind', y ou will use the wind machine. The rest can als o help . There i s a ltttle chorus which 1 want you to help me with" . (fhe chorus 1a tried out). ''The The The And

.

rains c ame down and the noods came up, rains c ame down and the floods came up, rains came down and the floods came up, the ark went salling on" .

''So, when I say, 'And whut happened ' , you sing tile chorus.

INDIAN MONKE Y DRUM

"Right, we' re ready. Oncc upon a time, Mr .

REQU IREMENTS

Supreme 's Mr. Noah. An Indian Drum . Tilts Is a s mall drum about 3" in diameter. Attached to it there are two cords on which are threaded two beads. The drum b.as a handl e, If the handle of the drum is held betwetln the palms of the hands, and the hands "rubbed" back -

wards s nd forwards. the drum revolves and the ''beads'' make a rattling sound . These drums can be obtained from shops which sell souvenirs.

A cyc le born. These are usua lly sold for chUdrea's cyc les and is simply a rubber-bulb attached to a metal horn .

Noah built an ark". (Show ark). "It had one two - three - four - five - Six windows. One day .

whils t Ustening to the weathe r forecast on the radiO , Mr . Noah said , ' I think U's time we went Into the ark because Ilhi~k we're going to have some Rain'''. (Drum). "And the ~ Is gOing to b low"'. (Horn - perfonner is startled). "We 've seen tile ark, but we haven't seen Mr. Noah". (Mr. Noah is shown and replaced) . ''So Noah and his family and aU the animals went Into the ark, and suddenly it began to &!.!!. and the Wind began to blow, and what happened ?" (Chorus).

PRESENTA.TION

"After a few days Mr. Noah asked Mrs. Noah to take charge". (Mrs. Noah is shown and replaced).

"Now it's st ory time, and to help me tell the story 1 need some sound effects . SO I shall need some "effects men " . (A boy and a girl are chosen. )

''She lOOked through one of the wi odows aod it was still Rai ning, and the wind W&ll sUll blowing. and what happened?" (ChoruS).

"Now, young lady , yOU have to provide the sound effects for rain. Can you imitate rain fallIng? No? Well, never mind, 1 have something

here which will help". (performer demonstrates the dnun aod makes sure that the girl can use it). "Now du r ing the s tory, when 1 say 'Rain', I want you to make the sound of rain.

43

''Some weeks later Mr . Noah called to his wife and said, 'Come quickly I it's stopped Rain!.!.&.. and the winds stopped blOWing, and we wUl 8000 be on dry land'. And that's exactly what happened, and when Mr . Noah opened the doo r s of the ark out came the animals . The monkeys lind t he tigers etc . So to finish our St ory let us have the chorus for the last t lrne". (ChOrUB).

box Is turned over to the right, whatever Is at the bottom of the box will go up inside the hidden cham· be.T while the nap wlll fall open and r elease what you have In the top of the said chamber.

During the s Inging of the chorus the performer takes the horn, and at the end of the chorus gives two 'pIps'. He then thanks the children and gets them to give themselves, '3 big clap'.

,

I have not mentioned the action of sawing,

.

.

\

planing, hammering, etc" In the 'building' of the ark, or the noises of animals as they enter the ark, but the children' s entertainer will realIse the possibilities of these Items .

C \

,,

,

;'-~j~

CLiCKETY CLICK

PL.ATFORM F

E

L.EN BEL.CHER

Trombone paper-clips are used quite extensively In magic, u sually In close -up eHects where they become linked after being show n to be separate, It is possible to bJy such clips which are about three- and-a-quarter Inches long and with these you can do a linking trick which can be seen from a platform and which Is eminen tl y suitable for ch ildren. Obviously, one lot of loose clips will have to be switched for a linked set and there are many ways o f doing this. I'm not going Into that be cause I want to detail for you a switch device which Is a pleasure to operate and which. will take all th.e worry ou t of the trick for you. In eSsence (1 say that to avoid saying, ' Basic ally ' ) the prop Is a Foo Can or, rather, box, but It has a difference which t think wlll Intrigue you and which I think Is novel. At any rate, I have never seen It In print or In action , The diagram wtU show you that the usual par· tltlon does not go quil~ as far down as that in a liquid Poo Can. 'That is because a bunch of large paperacHps ha s to Slip up behind It when the box is inv~rted. The sec ret chamber behind the par· tltion has a floor In It as shawn and on this rests the li nked clips. They cannot be seen because the top part of the partition, of course, hides them, but this top half Is hinged and when the box Is inverted they wl11 (all out unless the hinged section is held shut by finger and thumb. So, the oox Clln be turned upside down In two w ays , If the left first and second fingers are placed Inside the box at the top of the hinged na p with the thumb outside, the box can be tipped over to the left and whatever Is In the bottom of It will fall out. If, and lite rany on the orner hand, the right Hrst and second fingers are placed inside the box 00 the oppoSi te side with the thumb outSide and the

44

Saelion th(OII~ Switch 90.: II i. r,.lIy • kind 01 FOO CAN in wh it.h the lop heLl 01 th e dly 'elon Is hinged Ie) • .,d a pl.llorm (F) t.r •• two t.harnber8 , 0 .,d E.

. -. :r-~--""'-""""' - ' .~ t,.

1..:'

•

• •

~1 .. tI.

_ _ _.....

To . .

I · I ""'._•• _ .... _ . ' - _ ClQ _ _ " _ "

.__. ..... __. ._._ ...... ,. .. 10141........ _

........ ooont. C--1oIt _ _ ., _ _... __

....

If you do not use the reSt of the trick 1 am sure you will enjoy us ing th ~ switch box for other p.1r poses . 9..11 we are describing a children's trick and So we ca n do with a little comedy. So I have devised yet another comedy wand which is specially for the theme of the trick, since what appears to be a normal wand suddenly tran s forms Itself into a linked wand. You might think you could get the sa~· suIt with a Break- Away Wand, but you can't; there is a diffe r ence . To make this linked wand you need to gather some four or five plastic tubes such a s medicines come In. 1 can ' t tell you the exa ct number because the lengthS vary. You also need some thickish paper or thin card, some glue and some black and some white 'Fablon'. The second diagram will show how you construct lengthS of wand whi ch will socket together. Do not worry about th ~ joins; no one w ill see them exc~pt the boy who comes up to help you and he is nOl Hkely to worry . If you want to be on the safe side you can p.ish a knuckle Into his back and whisper, 'Watch It, mush:' Since the l engths of wand are hollow you can thread It as shown So that the pieces hang at set s pa ces . When the wand Is a ssembled the string

In thi s trick, which uses j ust three cards, a spectator Is asked to follow the movement s of each card and, even though the perfonner repeatedly sfmpUfies the movements, the spectator I s always uns uccess ful. It proves even more su rprising w hen the performer r e vea ls one card to have had a different colour back aU the time!

goes up Inside Ihe tubes. The effect is comicat, especially as this is a trick where you are attempting to link clips together and all you seem co be able to ••-

c:;:

END VIEW OF STAND BEFORE PRODUCTION

St .... d Is ,wls ' "

Alldl.nc:. View

Loll, Is . . . . by s li c klna ttl. ,tiel!; Inta CIft. of n •• t.- 'AII,tflllllO BolIne.'

10

produc.lollI ••

_It, trl di

Turni ng the stand between your hands causes the lollies to appear, You can do this one - tIanded if you light the paper with the match. Lallles should be close together . The pin or wax is used to hold the nash paper to the stand.

Remove the ball from the s tIc k and oounce It several times wIth your right hand, Pretend to pla ce the bell Into your left hand, palm It, SWitch balls and the fun begins. Place the ball into your side coat pocket at the finish. thus disposing of both rubber ball s .

Lolly-Drop Resting on ttIe magiCi8(\'S table Is a wooden grooved stand with a bl.ank piece of S" II 10" board facing the audience. A raspberry lolly is shown and pla ced behind the board. A few seconds later the lolly [s brought up from behind the board and a pi ece of the lo ll ipop Is gone.

Flash Production lollies A stand made of wood about 12"100g and 2" high Is shown. A piece or paper is pla ced on the Stand In thl! cl!ntrl!. You light the paper. Thl!re is a na sh and there on the stand are five diJferenl coloured lollipops.

"Soml! rascal must have taken a bUe from my tally". When the boa rd Is tu r ned around there Is a picture of a little rat boy.

S2

Ve ll ow 1011,

On the othe r side o f the bl ank board paste a picture from a magazine of a fat boy. Cu t a rou nd l olly from flat wood, glue a s tick on the back and paint it to look. like a lo lly . With a amaH saw cut a tdangle outor the lolly. Cu t piece goes on lolly.

'''.'ed

A_I '_OIl on lUck _d hlddetl In hM d Wood el'l 10U y ... Uh ' Blte .In' pl..::e

cut ou t.,d ,.placed with _ II 01 __ or ' Blu .:rack' p l~e

The l emon lolly at the top on the stick pointing from your hand. Show the bag empty. Place the lolly into the bag puShillg the lemon cDwnward {oward the end of the Stic k. Brlng the lemon Oil the stick out of the bag. Your hand conceals the lolly and the bag Is shown empty. You have changed a lolly to a lemon.

10" It 8" picture 01 Haw'! F lit BO)' In "ooyed Itll n

A MATCHED PAIR

JOHN YEAGE A

From a shuffled pack a spectator chooses a card. The card i s cut bac!:: Into the deck and locates its mate. For example, the 3H locates the 3D. Not a big mystery, but a nice inter lude .

EFFECT

'Bit.' ,,,.. loll, tall. behi nd .land

Show the lolly, place behtnd the ooard and the cut piece falls ~hind the st.nd. It is loosened from the lolly with your finger or thumb when it Is placed behlnd the board. It faUs behind the stand. Turn the picture around. Shaw the fat boy a nd then show the lolly.

lolly to lemon The magician shows a paper bag empty and a l emon lollipop. He places the lolly In the bag and a sks the kids to name the lollipop. Wa S it rasp~ berry ? No, the children s ay, it's lemon. And lemon it is as the magician brings the lolly from the bag, on the stick is a re-al lemon, Make a lemon 10Uy from wood and glue a stick. to the back. of the 10Uy. Now push a r e al lemon on to the stick at the oppos ite end up the centre of the stick . Your hand conceals the lem-

on.

S3

A simple set-up is used. Find a ca.rd a nd its mate as in the example above, Place both cards on top of the pack.

SECRET

Hl'st, false shu ffl e the deck r e taining the top two cards . Riffle the deck and force the top card with a Slip - cut force. Return the card fa ce up to the top of the deck. Have two spectators a ssist In the following manner . First spectator cuts ofr a small bunch of cards, turns them f8 ce up and returns them to the deck. Have a second spectator cu t deeper into the deck and reverse the entire group. Spread the deck, removing all the face up cards eJlcept the bottom for ce ca rd (a three). Remove thi s card plus the first face down one below It. Explain how cards are attracted to each other and always s earch for its ma te. Turn the face OOwn card over showing the other three .

KELLINI FILE KELLINI

or NORWAY Flrst rlboon·spTcad the deck In front of you face-

Welt, here I am again with still another load of new ideas. Some time ago I received "Stapled Card" Wallet and Miracle M(ltch from Supreme. lUked it terribly much· especially the version With the Blink Note and the'Just Chance' theme . I am going to use thi s veJ"slon • be sure . While I was sitting and playing Around with the wl\l\et in the late hours I developed a different handling of the wallet· a table version where there is no need for palming a card !'Ind the wallet can be removed i nst.llnt\y from the inner pocket without any fum· bUng at all. Sounds like II dream, doesn't It?

up on the tAble, of course, and have a spectator freely Plsh a c ard helf way out Of the spread. Now square up the deck but let the card still pratude half way out of the deck. Turn the deck face down, pull out the selected c ard end place It on tOp of the deck . Thal \S at leaSt how it appear s to the audience. Ac·

ruaHy you perform the Delfic Slip so that the selected card will now be the second Card from the top. The Delfle Slip Is explllined in The Gen (Vol. 22 No. 10. Page 259. ) by Willit'lm Zavls , It is

very useful move but perhaps no so wen known. In sho rt I witt explain the move, The deck is held I will first s tart [0 describe the Idea that origIn the left hand. The r ight hand comes in front of Inally made the snow- ball sta rt roiling. the dcck and while the dcck is momentarily hidden, the right thumb pulls out the top card half way lind both cerds are cllsually thrown on top of the deck. Sey thet you will give the spectator a fin.1 c hance to have a look at the selected card. Then doubleEF F ECT lift the two top Cards Rnd show them the selected A spectator freely selects a card from a pack card. Watch out now: Here comes a move which o f cMds, The card is thrown down on .the table I think (hope) is o rl,:;:in81 with me. The car« s) is while the magician s preads the rest of the deck out now app8rently just tossed face down on the table. In a fen and the spectator Is a s ked to return his Hold the two cAJ"ds in the lower right corner becnd anywhere In the deck. This Is done the deck tween the th umb And fi r st finger. As you move is sque red wen up ..md hllnded over [0 the spectetor the hand towerds the table, the thumb push off the who Is a sked to shuffle the cards as much as he top card which will lAnd face down on the table plea ses. When he has finished the shuffling. he is while the right hand moves further down below further instructed to place the deck In the middle t ~ble level :\nd drops the s elected ca rd in your of the table. The spectator is then totd to snap the lap . This should aU be done very casually just top ca rd with his fingers and the selected card will liS if you reIlly very just tossing II card fllce oown pass through the deck and end up at the bottom of on the table. At the same time you also spread the deck. So he does b.zt with no results. The spec· out the deck you are holding in II {an in the left tator is [hen asked to repeat [he business but stili hand. Now IISk the spectfltor to push the card In· nothing hllppens. A third time he Is Instructed to to the fan wherever he wishes. Hold the fan of cards repeat thi s but again with no vls[ble re sults. Perhaps face down near the ["bie top so that the spectator the spectator s napped to hard? The magician shows will not lift the cud too high so that anyone might hiS hand empty and reaches under the table and get a glimpse of the face . When the C8rd hes been produces the selected card . The selected card has pushed well into the deck. the deck [s squ ared up apparently penetrated both deck end table. and handed [0 the spectator for Shuffling. When he ha S finished shuffling, you ask him to place the WO RKIN G deck in the middle of the table . The rest should You will have to perform this effect seated at now be obvious. After the snapping ooslness, you the table as you will have to lap a card dJdng the finally reach under the table and prockJce the card performance. (from the lap. ) II

CARD THROUGH THE TABLE

54

As I III ready have mentioned the previOus routine inspired me to the

DIFFERENT HANDLING OF THE 'STAPLED CARD ' WALLET Brleny the effect \S Almost the same a s the original but this vers ion Is A table version (per- . formed 8ested at a table) .

As k hi m to t", ke cllTe of the wallet until the experiment Is ove r. To the s-pecUitor it appeers a s If it is here the whole trick stans - \xlt ",ctual1y you have now done the dlny work III reAdy lind only have to give the trick a proper preSentation. Re move", Card from the deck on the table 8nd s ay that it is the s~ l ec ted card . Dramatically turn over the card, It is not the selected card.

ROUTINE

Se,,[ed 8t II t,bl e, you secretl y place the wallet In the prepared position BETW EEN YOUR KNEES. Now introwce the pAck of cards (your own or the host's) and proceed JUSt as de s cribed In the previous routin~ until you have rea ched the point where the selected Cflrd res ts on your lap, (Ins tead of th~ 'Tos s Down Mov~'you could Rlso Simply just drop the ::;elected csrd into yOur lap . The misdi rec tion you use here is to spread the deck In your left hend OUt in a fan,) Now ask the spectator to rettJen the card to the lanned deck. Square up the decle and hand It over to the s pec tator (or shuffling. Now lell n forward and re st your lert elbow on the table while your chin re sts in the hand - the right hllnd rest s on your lap . Whll~ the s pectator is shuffling the cards , you do the 'dirty work'. You hlllvp. now itOt plenty o f time to push the selected cllrd In your lap Into the opening In the wallet and then close the zipper, Try this , you will be ama z~d at how easy It Is for your right hand to do the work. Do not move your right scm as you do the 'dlny worle' snd do not look down into your lap but loo k at the spectator while he Is shuWlng the carcis, In s ist that several spect;ltors s hufne the deck to give you plenty of time, You stH! remain in the slime poSition and the right hand (afte.r it has now closed the zipper) now griPS the end of the wanet and pushes it up on the Ins ide of yo ur j ac ket on the left side until you can press the wallet between the inside o f your left arm aud your body . The who le thing can be done in 8 few s econds . Now ASic the spectator to place the deck in the middle o f the table. You further ~xpla in thut you wll\ now try to loeane the chosen card

aod~youf.U,o do'his'hesp~'alo'will" ,"ive the contents In you r wallet. As you say this you anow the spectators to see that you r right hand is empty and thi s hand now goes into the Inside of your j a cket on the left side and appa rently remove the wallet rrom your Inner pocket. Actua\ly the wpUet Is just removed from the compress ed position between your arm a nd body. Take the wallet Immediately out and toss it down on th~ table in front of the spectator.

55

After several failures, you receive the wallet back from th e s pectator (before th[ti you let the spectator go thrOUgh the deck and r e mov~ hi s card - but of course he w ill be unable to find it becau se It is already safe Inside your wallet) and open it a s per the original In structions . The s elected card will be found ins ide the two cards stapled together. I am quite s ure that you liked th is new handling, Please give it a trial. Qh, 1 almost fo r got to mention that the selected may be msrked before-hand by the Spectator,

But how about performin~ the same routine If you were no t wearing JI jPcket. In this case you could prod.l ce the wallet from the hip pocket In your trou sers . r cb not think that it would be necess ary with so much explaNltion here · the working is he r e almost the Slime, Ins tead of pu shing the ", ,,1Iel up ins ide your Jac k.et here, you pus h the wallet under you a s you ri se you r ' end' 8 bit. Thi s is done :oS you receive the shufned pack from the spectator lind pi:oces it in the middle of th~ tRble. Then you pretend to remove the wallet from your hip pocket and hand It over to the s pect.ator. However I con· s ider the fir st handling I desc ribed to be better and more convincing. I certainly hope that you will try thi s new h"ndling becau se I cons ider It very good.

Here is a no ther idea wi th clI.rds I like to do .

EASY COLOUR CHANGE e FF£CT

The magic ian r e moves a c8rd trom the pack of cllrds and s how s thi s to be for example the eight of Diamonds. H~ holds the card face towards the audience In his rlp;ht hand . The card is now placed back ou t into the left hand. When the face of the card is shown ag&in, It Is seen to have changed to a diff~rent card - In this case the ace of Spades.

thu mb rimes off the fcont card which is pushed In betwe en the left s e cond a nd thi r d finger and heLd there. See figure 2 and 3 on pa ge 8. The vi. s lble c ard Is held back: out In the right !\t nd now . You s hould stand 8 bit turned to the left a s you execute these moves . Let It be clearly seen thl'lt your right hand Is e mpty without pointing thi s Out.

WORKING

Agai n 8 very easy thing to m with cards . The colour change require some hand\ing practiSe to perform It weB. Us e two contra sting CArds for better effect and place these two cards on top of the dec k (In this case the Ace of Spades) Is the top cud. The deck Is held In the left hand and the right hand double-lifts the two top CArds as one . The two top cards are held in the manner shown In the mu stratlon on pe.ge 8 and, figure 1.

+A

.EHIND

~ 'i!

os

FIG.1

FIG .S

As the right hand moves towards the left hand, the cards are held with the right thumb at the lOp

.nd the first 8nd linle finger at the bottom of the long edges of the cards while the second and third finger are held under bottom edges of the ceres. As the cards reaches the left Hnger s, the right

S6

The Tight hand now goes under the left hand obviou s~y just to remove the visible cArd but It al so secretly palms the clird cUpped between your

" seCOND METHOD"

In this second method you also a llow the spectaoor to freel y sel ect a card and ttEn r ewrn the

l eft second and third finger . At the Same time 11 8 the visibl e ca rd is taken over in the right hand card to the deck . Then the card is secretly brought which .1so bold the ot her cord pal med. the right hand lD the top using your awn favourite method . Next . . Igh 1 « the ca rd is palmed off tn your Ie£[ hAnd and the 15 moved [0 t he poSitIOn r t n ront 0 you to show that the card ha s chllnged to 8 different one. deck Is handed out to a spectator to have th~ cards Now pi c k up the deck In the left hand and pla ce the thoroughly shuffled. When he has moe thiS, you visible card face up on the deck which should al so ask. him to throw the ca r ds up In the air over you . be held f ll ce up . The palmed card is a lso secretly A.S the cards are nutte~ing In the air over you , the a dded to the deck which Is Immediately cut to loose nght nrllt finger goes Into the hole in the card pal-

the cards in the centre of the deck : You are left

med in your left hand and pretend to .produce the card on the finger Crom tho se nuuermg down ove.r yoo.

'delln ' and may proceed with another card trick . Hope you liked it :

Yes, 1 know that the Idea is very ample but I know that the idea Is still fully practical.

Here is .!Inother novel Ide.!! with cards which I will s imply can

CARD ON FINGER

He.r e \s ano ther different vers ion of the previous Idea .

(or rath ... THE POOR .,,\N 'S C ARD SWORD )

CARDS ON WAND

EFFECT

The m aglclln removes I clrd from his pocket from whkh he tips out a pack of cnds with a hole In the m iddle or all the cl!lrds . He now places the card case (lslde whUe he has one spectator select II card from the deck, heve a look at It find then return lhe card to the middle or the deck. The c"rds ere now thoroughly shurned. Then the cll r ds :ore thrown up In the air where [he chosen CBrd Is mySteriously c aught - impa led on the mllglclan' s r lght firs t f inger.

EFFECT

The magician asks three different spectators to rreely select one card each from a pack or cards.

When the y have had a look at their cards, they are told to rerurn their cards to the deck which Is immediately shumed and cut to loose the cards completely In the deck . The magiCian now picks up an ordinary wand and freely displays h. An open box with two s lots on the two shor t sides Is a lso picked up and s hown emp£)'. The wand is now placed in" s ide the box with the wand Ups protudlng rrom the two slots . The peck of cards Is then dropped inWORKI NG side the box at last . The th.r ee spectators are now I have actually pr odu ced two 'methods ' for acasked to concentrate on theLr chosen cards. Surcomplishing this effect. I will first describe the prise - when the wand is removed from the box , simplest method where you wUl requl.re a deck with the three selected cardS are seen Impaled on the II. hole going through the middle of each card . The wand. No duplicate cards are u se~ . spectator may her e select any ca r d he ml!#tl like . When the card has been replaced in the deck, it WORKING is brought to the top of the deck using your own favourite method. You now hold the deck in your The cards you use here also have a ho le through left hand and secr etly you obtain a break between the middle of them. Additionally I would a lso rec[he top card and [he rest of the deck. As you trans - ommend a 'Stripper Deck;' to be used here for 'cleaner ' fer the deck into your right hand, you secretly operation. Three cards are first freely selected thread the selected card onto you r tight firs t fin from the deck by three spectators. While they ger. The deck Is placed face up over in the right are lOOking at their cards, you s ecretly reverse the deck so that the cards will be refuened reversed hand. The cards a r e now thrown up in the air right above you - except fo r the selected card on to the deck and you can easUy locate these cards . your finger which you pretend to catch as you reach Now have the deck shuffled either by yourself or a up amongst I II the fluttering cards. spectator . When you receive the deck back again,

57

you cut the deck a few times to bring the three sel ected cards to the top . Ho l d the deck in you r l eft hand and secretty get a break under lhe three (selected) top cards. The wand is now picked up In the right hand and freely displayed. The wand is then placed over In the l eft hand together with the deck while fl oox similar to the one shown in the illustrations on page 9 Is picked up and shown emp ty In the right hand. But what aCOla lly happens when you pl ace the wand over in the left hand, is that the wand Is secretly t hreaded through the holes in the three top cards. ThI s should be a very easy thing to do because of the break held between the three top cards and [he res t of the deck. The left hand a l l30 holding the deck now places the wand Into the two s lots in the box. As your left hand is removed from the oox, the three sel ected cards remain o n the wand inside the OOX while the rest of the deck Is brought out of the box . It w Ul appear quite natural that the deck is brought with as the wand is placed inside the box, - because tbe right hand Is holding the box and cannot be used to bold the deck.

WAND WITH THE THREE SELECTED CARDS IMPALED ON IT RESTING IN TWO SL.OTS IN THE BOX

I I

/

THE WAND IS APPARENTL.Y JUST PL.ACED OVER IN THE LEFT HAND HOLDING THE OECK so THAT YOU CAN SHO.. THE BOX EMPTY WITH YOUR RIGt1T HAND · BUT IN FACT THE WANO IS THRE ....DED nU\OUGH THE THREE TOP C .... RDS

I

./

\

THE SEL.ECTED CARDS ARE PRODUCED IMPAL.EO ON THE WAND

The cards are now ' showered' down into the box. The trick has a lready been oone - a ll that remains for you Is to remove the wand from the Slots and show that the three sel ected cards are now impaled on thewand.

'A JEWEL OF A TRICK!' " am thoroughly delighted w ith the quality of CROWN JEWELS which is going over great in my children's act at present. "Every time I show the big picture of the King at the end, aU the children laugh their sock:s off, but I can't figure out why.

BREAI( IS HEL.D HERE UNDER THE THREE TOP SELECTED CARDS

'"Thank:s for an excellent effect" . Lee Stainer, Kna r esborough, YorkshIre.

S8

MY MAGIC WORLD

¥ Edwin

Hello there, As promised. this month we hav e II new cover to stu t ou r new Volume , and a Special 'All T r tck ' Issu e . I leel llU J:e that whatever kind of Magic yoo perfo rm, you wUI find Items to intere s t you . This monthwtll s e c me BritiSh Rlng'lI fUstlngll' ConvenUoQ, from the 15th - 19th Septembe r , whic h looks Ukll': being Ita u s ... , 1 great suc-cen . The holiday sea son will be almost over lind many will be looking [or miller ia l Cot the ir new ,,!lowil. It you never purc hase d ou r Cata logues N:l s . 30 &: 31 you mi ssed-out on some great material. I'm su re IhM we wlll.stilL have ~me I nll e ~ lefl when this magazin e rea che s you, so check: hack lind If you missed Oll l, get your orde r In RIGHT AWAY. No doubt , we wLU be pro lil clng new ma ter ial tDO lo r the Q'lnvcn tlon and the 'SljlrI of th e seasO/1 ', Loo king forwa. rd to meeting many o f you at the Convclltlon and to dcmon 9t ratlng s ome of my own favou rites to

'''" .

Un t il then, all the belt,

Elk in .

IN THIS ISSUE Some "f the items mentioned in this iuue of THE MAGIGRAM wh ich are avanahle from Supreme by return. Supr eme COCKTA IL STIC KS. Made Uke a miniature Bill Tube . You are instantly a ble to dIvine the chosen rolouT. Read 'M y Cocktail Sticks Rou tine ' by C EOFF LAWRENCE in thi s iswe . Pr ice, £4. 50. (U. S.A. $10. (0). MICRA T ION. STEVE DUSHECK'S beautifu l co in anembly whIch 1& ellly to do and very Impress ive. Read 'An allerna~ live r ou tine for MIGRATION' by KBNNBTIi LANG in this Issue. Price, ,U .50, (U.S .A. $12.00). BEST SELL ERS. TOM SELLERS' matetlal In one Bumper Book. You'll ([nd lots to Interest a nd amUSe you and to add [ 0 your show in this book. Read ARUN BaNERJEE'S 'Numeric Detection Revisited ' In which he pra ises the boot. Pr iCe, £8 . 00. (U.S.A. $20.(0). PIN-ET RA TION . One of the gr e " est po c ket t r lcl::!! o f the era. It e ven harned JEFFERY A'I1ide Thcatre introduced the act s, and Charles Tadman of the Hull Magicians ' Ci r cle was stage manager , Alan Kil v ington , a w inner of t he Trophy on two pr ev ious occas ions opened [he s how . He produced bUllard ball s and s ilks . The s ilks were tran sformed to tis sue paper wh ich , in turn, became a var i- colou r ed silk. A mis - made s ilk effect was followed by Snow sto rm In China . The Panama Rope Trick rouline lncor\Xlratc d comedy scissors , which alongw irh the Sliding Die Bo" caused a good deal of laughter . Alan concluded with the production and vani sh of 8. r abbit. Jon next introduced Martin Bailie , who show ed man ipulativ e skill with the Chi cago Balls, and a Three Ring Routine . Martin had received ballet training which showed in hi s movements . He concluded with the Rlboon FOUntain.

80

The YOl.ln9 competi tors .... Adr illn. Mllrlln . Norman , Allin . S1ephen. IIss rl l ed by tile Lord Mayor.

Adrian Hedges , entering the co mpetition fo r the first time, brought a breath of o riginality w ith hiS act, the theme of whieh was the Rubi e OJbe. In explaining his difficulty In solving the problem he used the Supreme Chinese Foldin g Dox to pro Card fame , drawa to my attention an e rror in my report of the 'Tribute T o Lewis Ganson ' Evening. The portrait presented to The Magic Circle by JACKSON and WIN LAURIE of the Essex. Ma g ical Assoc iation was that of jasper Maskelyne llnd not Ca r dini as stated . When Jackson reti red after twenty- n ve years Editor ship of the W. M. A. Bull etin, the Society dec ided to make a pr esenlalion to him and to Win for a l\ the wor k they had done for the Association ove r a great many year s In all sorts of ways. A subscription was opened and Lewis was com · missioned to paint a portrait of jasper Maskelyne who was the fir st PrC!sldcnt of lhe W. M. A. In ad· dition, thC!y were presented with a c lock, Win and Lauri e are both o ver 80 years of age and st ill aITe nd W. M.A. meetings r egular ly. It was this pr otra it whi ch Win and Laurie gen · e r ously presented to TIl e MagiC Circle for pos· ter ity, • after consultat ion with the Wessex Ma · g ical ASSociat ion. Sorry for the error, but glad to get the {acrs stra ight. 'Raves' still continue to come in for a ll our recently pr odlced items. A nice lencr from our old friend Stanton Carlisle has this to say: GR EAT MENTAL MAGI C

Dea r Edw in, Calalogue No. 31 safely here and the items Gerald Kosky ' s SUPER MEMORY PLUS. Cheal ' s S'fUNNUMBERS and F ogel's HBAD LI NE HUNTER are all gr eat mate r ia l for the performer who essays a reputation as a mentalist (even as part of his other magic act :). But Ken de Cour cy ha s jerked an old effect right up into today's per form ing sphere not only by the simple (but in spired) Idea of utilising telephone numbers rather than

a strin g of figures it

rut because he has (cracked

in o ther ways), X-DIRECTORY - It ' s great .

Formerly to essay something of this kind one would follow say a lady's name with a gentleman's name and have a ' mirrored number' rut that has all been so nea tly eliminated, Have already teLepnoned Ken to thank him but is this under- priced o r mls· priced as you once did the Fox Book? After alt when one realises tha t this is a great idea that offers so little to learn or carry and yet wllicll offers the performer a fine chance to enhance Ilis r eputation In thi s field , " and wh ich can be effecti.vety performed well in close- quar ter work through Ilospitality r ooms th.rough cab a r et and onto the largest stage (the latter either by working aud ience or having a committee onstage) . Why issued as a Manuscript alone it would have commanded the pri ce you are charging for the complete outfit:

said it costs as much to buy ooe piece as it did t o buy two pieces last week," (On th is line, you should have two pieces, . apparently, in your right hand, a single one in your left.)

SOMETHING NEW IN SPONGE BALLS

All the material you sent me Is mentalwlsc ex cept In-N-Out Sponge Ball Trick and that is the first really new and dlfferenr thing in sponge ba ll s for years and years and years Without any shadow of a doub t. The plot Is easy to follow and the combination of the two effects to produce a third Is just "And to buy three pieces of rope costs a pretty short of genius ••• must confess that when I looked pelUly," (Here you bring the third piece over to the at instructions I at first didn't believe the balls would act/operate as illustrated etc., but of course right. Then all the pieces go back to the left band as you begin to bring them up In loops , ) they do and I am not going to reach for any mor e superlatives " . what I've just put down 1s exactly "lnflation is a v icious c ircle , you have to do how 1 feel about it. Thanks for leuing me see this , a little borse-stealing - I mean trading - to keep That ' S enough from me for this month. Look yourself ahead of inflation these days, Don't know forward to sceing you aga in soon , why I said horse-stealing , .. " (You snap the rOpe All the very best. out showing one long piece , ) Edwin. "". that's a r isky road , .. 'cause someone might have a long piece of rope. , ."

REAGONOMIC MAGIC CLEVE CANHAM If nothing e lse can be said tn favour of it, ad versity often does stlmulate toptcal patter, Take inflation. Please.

(The le ft hand will be sliding along the rope, palm down , to display It in length. Let them see the rOpe all in one long piece. Near the join. I turn my hand palm up and do the move for a one handed knot - only i nstead of completing the knot, I ti e a loop - a kind of Ilangman's noose - and say:) " ... and hang you with it! " Tllen you slowly swing the rope from t he right hand displaying the ''noose''.

No, really. The subject of inflation fits the Snappy 3 to 1 Ropes in tllis way: ''Did you see Ronald Reagan (or any other politician) expla ining inflation on televiSion the otller day? He had three pieces of r ope, Reagan

82

Be careful In ty ing the one-handed loop. The rope m ight pull apart If you're too r ough with it; just an easy motion is all It takes.

AT HOMB

WITH Me COM B ~~ f,£:d,M(:j. MORE ABOUT BERLIN The archway in tnc centre has "two entr ances . The one on the left goes s traight through to a courtyard; and presumably In its early days a coach or slmUar wagon would go through there to the back and park. The right entrance takes you up stairs. The window above the second balcony up ia the atore. Outside you see the ZauberZentrale sign and me polntlDg to It ... which Is daft ..• because you couldD't miss It. But with my fragile ego [ had to be In at least one of the photos. Trotting up the same Btalrs that Houdl D.!., Goldin , Dante, and all the greats of the past who played Berlin you come to a sign beside a door OD your left. n telis yOU that the presoil rat owner is Peter U!smann ... BUT he on ly opeDS on Saturdays . This was a week-day.

I am now thorough ly convinced that. God protects little c hildren, drunks and magicians . Why? WelljuBt. lOOk at the first photograph. Devastation aU arotmd, and when the War e nded ... and that 's over thirty years ago . .• yOU can ngure out for yourseU how much worse it must have

lOOked. What Is the building which is left Btanding? Don·t be surprised; it houses tbe Conradi Horate r Magic Company.

Th. BIIUding CO"~r"r"g til. HI.toti c Cont8cII·HOf."r /rOllie St o,., •. Hole how II I, 1D1.lly 1IOI,t,d III tn. 1,,1 .

~

Nameplate of the Conradl-HOflter StOt'e.

The .. c ond balcony up i, In lronl 01 the . Ior. wi ndow •.

Carriage 011 righl of photog,.,

83

I'm told t.hat ins ide houses ma ny items of inte rest to c oHeet.ors. O ld tablel:!, some old props and a host of memories of the ghosts t hat haunt. tbe o ld place.

To the righl olltle doo, 8ttlle lop of th e a tairs ,OU s_ this Sign .

If you walk out the front doo r and turn r ight you will s ee Checkpoi nt Cha rli e about 150 or 200 ya rds down. The re are act.ually seve r a l checkpoints in and out of the West to the East, But the fir st , :md the one with tho most publiCity attached, is the American o ne . And that.'s Checkpoint Charlie.

To the right of the sign which 1 am s ta nding undo l'neath there is a little s hop-like place . Thi s is the "Wa l! Mu seum". It Is absolutely fascinating . Bl'nd Lanksheit took me there . lots of the t hings would appea l to m agic ians s ince they all have to do with getti ng from onc place to another without being di scovered. Most of them wou ldn't work anymore, according to Brnd , because t he), now have an infra - red cum X- ray ty pe of s cientific ins trument which s hows up the placing of a hUman being due to the hcat of the body . The only place In a vchtcle which givcs o ff heat is the en gine , so you now have to figure out some way t o hide someone in the engine and put the engine or Its cqulva lent somewhere else whe re it won 't be noticed. You sort that one out. It Is correct, but on rc - rcading il , i t doesn't make sens e. You sec a wheeze whercin a trick cycli st c urled hers elf up into a sound amplifier and came over In that. Anotber girl c rawled into an old radiogram afte r rem ovIng lhe guts. It's not hers. Then a bubble-ca r where they cut the petrol tank In half and doubled s omeone up In that. Two Suitcases which laid on t he luggage rack In a t r ain with the t wo adjacent ends cut out aod a gi rl stretched out on the rac k half In one case and hn If in t he other .

84

McComb taking great cate NOT to leave tile Ameri can Seelor.... ln en, II , ;,1. sllot I!!! I

A sma ll underwater engine which pulled a scuba -equipped swimmer across the river befor e they put whacking gr eat s pl kcs under the water. After he arrived in the West hc talked with manufa cturers and now a sophi Sti cated version of the same thing is used by scuba-dlvcrs {or fun under wat er . You s ee a wire with a trolley contraption on It. A man s hot that across t he mined, dogged a nd barbed wires area between the two zones , T hen he and his son bymbolising the Cornish coat of arm s and the Linking Ring s .

REOUI REMENTS

D.!rlng the years the society has been fo rtu· nate In obtaining the services of many of Britain ' s tOp magician s for lectures and our annual dinner caba r ets, despite the di s tances they have to tray· el. For this we give [hem our grateful thanks ,

Two Identi cal packs o f playing ca rds (one minu s the force card), bar of Kit-Kal (contain ing within the s liver wrapper the (orce ca rd laken from the duplicate pack), Supreme One Handed Change Bag, Breakaway Wand and SprIng Snake Can,

We as a soc iety are pleased to have in our r anks as honorary members the following wellknow n maglclans: - Rovi , Alfred Gabriel, Colin Hughes, Hamilton Kaye. One of our founder member s, Col. J. P. WitHam S (aged 84 and st ill perfo rming regularl y here and in the Statcs).

ROUTINE

OIoose a lady from the audience , preferably you ng to middlc · age and a s k her if s he minds helping you with an outstandIng ca r d trick , When she r esponds, thank her fo r agreeing and a s k the audience fo r a round of applause fo r you r willing helpe r .

So if at any time you are In CortN.'a ll , co ntact

our society, you wl1l be sure of a real Co rni s h welcome , Roger Dre.v is the cu r rent PreSident of T he Cornis h Magical Society and by profeSS ion Is a Legal Executive.

Take ou t of your pocket the ever - faithful pa ck of cards , and remove [hem from the ca r d box, Pla ce the box on the table (th is will be requi red

9S

later) and fo rce a ca rd on her (obviously the du ~ plICat e or the one already nestling In the Kit ~ Ka t) . The force can be made by whatever meth od you prefer (one method is" one-way forcing dec k). Ask her to look at the chosen card, re member it and then s how it to the a ud ience making sure that you, the performer, ca nnot see it . (This is important in ca!>e she forgets the card . .. i t doe s happen and has happened to mc) . Give her the remainder of the pack and ask he r to shu me he r card Into lh e pack, then give her the card box (remember, you put it on your table) and a s k her to place the card s into the tux and tuck in the flap.

Show the Change Bag empty and a s k he r to drop thc card box imo the ba g . Immediate ly change to the secret compartment (thi S should contaIn the dupltcate pack minus the force cal·d). Inform he r that she , with a Httl e a ss is tance from you, is now abo ut to perfo r m the mo st outstandIng CArd (cat in t\1ew orld. For some r eason this gelS a la ugh from the audi ence . Expla ill to he r lhat in a mo mem you are ~ i n~ to a s k her to s hout a magiC word and cha c, when she ooe..:; . her chosen card will immediately leave the card box, ShOO l out 0( the top o f the bag and stick to the cei1lng. Again thi s get S a laugh .

wand. de pending on the type of nudl ence you are entenainlng . HClllonStratc with he r for breaking your w3nd . Expl;l in th;lt !lhe is not 3 $tood a ssist a nt because. firsl1y, tihc docs not get [he trick to work tit the fi r s t attempt and then, on the Sec ond attempt, she has broken you r wand . It is not your ni~ll : E)I;pla in to the 3udiencc that the a s sis ta nt mus t be very nervous Indeed and this cou l d well be the reason why rhe trick Is not wor king a s sIJccessfu lly as it Shou ld . Get her to r ea ch into the ba}!; and r emove the pack o f cards ( this Is the dUp UC3 tc pack minus the foro:e card). Slle doe"l so. Ask her to rcmove the cards from the card hox , look thn:x.l~," them and find he r chosen card. Whil st she is doin~ this. and to cover any IXlssible lapse of a ction, expla in to the audience that a s you r a sSIStanl is nervous she will nOt be able to perform the t r iCK using the whole pack but, if rhey would bear with you and the a ssistant, you will a sk the assistant to place he r 1:1I05cn card only in the bag and that you and ~he \\'i ll a ttempt to m ake the one card Jump out o f the bag snd st ic k to the ce il in}!;.

Hol d the ba g at arm' s lenp;th and as k he r to s hout any magic word she li kes . Normally the Assi stan t shouts '·Abra ca da bra " . As soon 3S she doe'!, look at her a lld say . "That' s origina l·' . Again more laughs from the audience, not least of all your a SSistant . Ask her H she wUi shout it out nice a nd lou d so that the card ca n hear : She ooes so. Look a t the bag and then slowly look up to the ceil in g as mough you were looking fo r the ca r d. Suddenly real ise that the assistant is without n magiC wand and ex.pLain that \.Ilis is the rea son why the tric k did not work on the fir st occ asion . Offer her a wa nd (the Breakaway Wand) and, a s she takes it, look 8We.y from her a nd lOok at the bag, noc noticing t hat the wand has broken . As reader s w ill know, th e Brcakn way Wand, whether u sed with chi ldren o r awlts , getS a tremendou s laugh Crom (he audience .

Oy this time you r assistant ~ hould have gone lhroubrh the pack: loo k at he r a nd ask her for he r chol!{"n ca rd, She w ill infonn you thar-the card Is not there . Al this point look exaspe rated and s ay that no t only ha s she no t m ade the tri ck worK but that she ha s now lost the chosen card. Ask her to deposi t into th e bag the cards a nd the card IX)I(. Place the bag onto you r table and r emove lherefrom the Snake can . I u sc a small can which Is com monly u sed in CorrTw all for "exporting

As Soon a s the audi e nce SCaTt to laugh, look at her as though to a sk why the audience should be laughIng and s udde nly notice the wan d. Many gags can be made at chIs point wl~h rega rd to the

96

party to the hardest of night-club audiences. It neve r tail s to bring laughter and applause. Naturall y the paller can be changed to sull the venue.

Cornish Clotted Cream to all partS of the Coun try". Inform her that you knew all along that her c ard was not in the pack because magically you had vanished h. Ask. her if she r eco gnises the tin you are holding. If s he ooes not, explain that it is a "Co rnish Clotted Cream Tin" . Give her the tin and a sk her if she wou ld check that there IIrc no slots or other openings in the tin into whi ch you could ea s ily place a play ing card. She ac knowledges this to be the ca se.

Sometime a go, driving home from a s how where I had performed this effect congratulating my self on how well the effect went, I began to think more aoout it. I suddenl y a s ked myself a question. 'Why do I use a Change Dog?" I coul d think o f no va\ld reason (or the use of a Change Bag. I therefore dec ided to do without the Change Bag. but this meant that I wou ld have to employ some s le lght -ot-hand .

In fo rm her that her cho!:>en card. although un k.nown to you . will be found Inside the tin. Ask her to open the tin. When she doeS the Spring Snake jumps out much to hcr a Ston ishment and to the merr iment of the audience . Put the .tin a nd the s nake away in the cable and infor m her that obv iously the trick is just not working. Apologise to the audience that you are unable to pe rfo rm this outslllnding card trick and as k your a ssistant if she would like a .. break·· . At thiS point she will be more than de\igiHed to s ay, "Yes". Immediately r e ach into your ta ble and ta ke out the Kit- Kat and say. "Good. then have a Kit -Kat". This w ill get a good r eaction fr om the audience . Shake her I7y the hand , thank her for her va luable a ssistance (again this will get a lau gh because she ha s obviously completel)' ru ined your tri ck) and send her back to her ;;ea t. a s king at the same time for me au dience to acknowledge with the USual applau se for your kind helper. When she nearl y r eoa ches her scat a sk her a s an after thought for the na me of the card she chose . She will len you . Inform her that you are not surpri sed that the t rick did not wo rk be cau se that card is the most difficult card in the pack to do ca rd t.ricks w ith . Ask her if she would mind sharing her Kit -Kat with the next table and get her to remove the red ou ter-w rapper and to take off the silve r foil Inner -wrapper. When she ha s amut accompli shed thi s . as k her what she finds inside the Klt· Kat besi des the Kit-Kat and she wi\! r eply . "My chosen card". Ask her If she would hol d the card up for all [Q see . Show the audience tha t you are delighted that the trick has at long last come to a satisfactory conclusion. Go forwa rd to take the card from her teUlng her that she may keep me Kit-Kat as a memento of th is very "suspicious occasion" . 1 have featured th is effect on very many occas ions In shows ran gtng from the Vlcar's tea

97

I now perform the effect by using one ~ ck only Natu rall y the dupHcate o f the for ce card Is still loaded in the Kit-Kat. The pac k is handled in the normal mann~r . The ca rd is forced, pla ced back into the pac k by the a sslti:lant and then controlled to the lOp of the pllck l7y me on the pretext that the card Is now well and t ru ly shutncd Into [he pa ck , Palm It off and give the remainder of the pack back to the assistant to be placed back into the ca r d box. The assista nt Is then a s ked to ho ld the card oox In her hand high in the air. The routine then fol lows as norma l. The palmed ca rd Is ' ditched' when go ing to the tabl e fo r the Breakaway Wand. However. for those performer s who would prefer to leave nothing to chance. the Change Bag method Is straightfOrw ard and simple. Please do give this effec t a try out. It needs very little rehear s al, it \s ve r y e a s ily set, can be done In close -up, In caba r et o r on a stage a nd furthe r more leaves the lady a SSistan t with a small gUT. PH IL IP SOUT HWOOD

ts.e,·tary)

1 fi r s t became Interested in magic In 1962 after being shown a couple of tricks by a workmate . From thi~ , it wa s o nly a matte r of time befo r e I joined The Cornish Magi cal Society. The I.B. M. and evenlUslly The Mag ic Circle . Over the YCllrs . many magicians have influenced my maw.cal thinking, Bunny Neill the Magical Story -teller, who's act I saw many times, small. lightweight rut beautifully presented ma g iC. And the late Per cy Bee. a hard ta s k- ma ster in the Instruction of the art.

1 now perform cabaret and close -up magtc in local hotels, but I would like to offer a Stunt I wa S shown man y year s ago which 1 haven't seen In print. It Is s imilar to the night of the pape r balls in that onl y one Spectator Is fooled.

the pa ck with his cards . This is the se cret o f the working because, a s the arm Is raised at the elbow, the ends of h is cards wHi rea ch the back of the neck and can be pushed down between the neck and the !3hirt collar.

CARDS IN FLIGHT '

The downward movement must be fast on both occa sions . On the first attem pt, the vani sh is not done, ru t on the second try the c ards are left be~ tween the neck and shirl collar and. on the down ~ ward movement, the hand strikes the pack (spectato r' s) and Immediately :rIffles rhe ends of the spectator ' s pack, rurning the hands over to s how that the cards have v ani shed.

EFFECT

A seated s pecta to r is aSked to hold a pack of cards tightl y between the finger a nd thu mbs of ooth. ha nds . The per form er s ays he is going to force three cards into the paclc so fa st that the specta tor wUl not see the cards golng In, only feel the pack go Slightly th icker. After the sec ond attempt, the cards have indeed vanished .

These can be retrieved at any opporOlne mene and added to the pa ck.

SE T-UP

The spectato r must be seated and the perfor m' er Standing for the casiest working. Any pack o f cards .

mo~

DEE-JAY

PAESENTAT1'lN

A pack of ca rds is shown and any th r ee cards are removed face doWn, the val ues a re not shown . The pack is then given to a seated spectator and he is asked to hold it t ightly (a s in the diagram) . The performer show s the three ca rds (not the faces) and holds them in between the fin ger and thumb of the right hand saying that he will throw th.ese cards into tile pack 00 quickly tha t the spectator wlll not see them go in, on ly feel the pack go larger beca use of the addition.

My first interest in magic w a s when I received a Magic Set one Christma s when I wa s a bout twelve. J did a few shows (or Sunday School par t ies and a Youth Cl ub I was a member of. When 1 star ted work a t seventeen in London I used to s pend hours brOWSing around Ha mley's Ma gic Department, but could very rarely afford to buy anything. I stopped doing m agic when I joi ned the Air Force and did not Slart again untn I tought The Dunmar Hotel In St. Ives just over ten years ago. Doing card tricks in the bar reawakened my in~ terest and I began to pra ctise cards again.

Because the Spectator is Seated and the magician Is standing, he must lean forward to reach

98

GeoU . Quick. seeing me perform, invited me to the Annual Dinner of The Cornish Magical Society . The following year he Invi ted me Ilgllin and suggested that I might IilOST P"ID 011.\1 o rden of tIO(U .S.". $20) or O'rtlr, Remlltancu tnllY be lent 10 u~ by che que (your p',,,800I I eh ...,..e 'I Iccepted), mOM)' o rder •. bank drorl'tS. or cuh. U remlttln" Ihe 1:olter, In your ""'II Int"..,8U, " '0 mdvi " Ib. t IlIla lilouid be nrrt regtstered or recorded m.11. Chequel Or polllal order •• hould be croueDdl lq be Un! 11)' aIr _ 'I. Thl! cost of .Ir pOlIIl' e,cremaly big!! .IId, In many lulane"'. CIO be IOore Ihan Ilia .d",.1 ulue Gillie ll:O'XIe Ihemael" u. W. do Uk Ib.t)'ou place yOl,lr oro" ... E " Rl.Y. other win you ,rl! J",rtl thl'llWIIIC money ''''.y by IIICU rrlnS hee..,. poaal ehar2C!l. "Lt.. OTHf.1I q Yf.Mf. .... CUITOIrII':II S

Overle.. euBl.omers h'om «lin _ r t .. , ple.... note !.hit no poau" II. . beh .IIoo.'ed on 'Ibe prtces qu«ed. "1'I1too.I&h we pay III" p>rttap on lal.nd orde ... C"""'ee II "e'1' mIlCh 1_.. In th ... c .... 0 1 "ourn" 25';{ mU'1 be adrrt lcular Ilem ..... ...111 .d"l~ you .t noc"'.

W, do NO't ."bam,," 110m' UNLEll5 101 lha customer',

SPECIFIC REQUEST, PLEASE (lIVE AN TIVE SELECTION It· POSS I.IHE.

AL.TEHNA~

II an IIf1tn , a out of atock It I. OUr u."all'ucuce to I....., • eredlt note wh Ich ,haul" bos t..."ted !I.e e.fIh. Th' l can be ulled 1,llnii IUly fiIIunI oroer fQr lhe amOWlt atated on the crodlt DOle' or u refund will be made ,,,,IIUI. It If you ao del'riO. It 'I Imparta nt !hid. lho credlt !'ote II trUted al ellh alld rehlmod to u8 Or ill nwnber and dale or ' ... ue 1J!,'en. Plelse notc credit not"o a..., bOt Ina¥farahle unleU ..... are ID/ormcd IN ~h plI"'lea. o"",,,e"OIl\'~l

r,,-~ponl\ble

E~ry

,n-

Cualomera CAN ine"re their parcel s .. foU"",' •. II Ihey wl,h:_ -[NLA ND · Add P08t o W..,.. fee. lSI'. plu s 20p , IIxtrll lor documentation 10 h........ yeur J)IIrcel. OV£ nSEAS - ChKk wllh yeur l\lell lIOal office. Re _ member t~ ouih - normi lly we declare the MATEIUAL value of I~" Items BellI _ when Sill'll Insu red "'II MUST d,,~ lart'.llIe ~·ULL. rct." vl lue. A h.. lldUng cha rge of $1 per p/l. f cclle m.de for Il'IeuMI"cll.

.. ATliRIALS

and 5peclfle'llona. TheslI oocaalonally vary (allhough we Ilway. do 11')' to deliver • • Jd"ert lse, brinst"ll ""Y lleflcle""e" to .... r IIOUCI. C.O.O. GoOd' cUI be '''Ill C. O. D. If d .. lre00I&t ofllce to a,... ld th ... bo.... ud Pr8ve·H rd-~(jun. e

si lk s [l nd

Price, £55 .00, ( U.s. ..... $ 120.(0). nas ically, the effcct is that a pack o f C lCrd.~ i~ re. moved flo m ilS c ase, the c ards are shuffled a nd one is selccled and returned to the pack. ca rd "",ish~ fro m the deck !lIld is e¥en lually found in the e ard -casc.

Supreme Magic p resen t

n.c

The effect is SIIl,,];ng beca use the ca,d-case has bc«n within Ihe aud ience' ~ view from the time the pack was firs t removed from it. You will be amazed al the varialions IlI'ld ve rsatil_ ilY o f the effccl. The card e an ~ a ~igned one. Variation~ use a pri nc iple by Patrick I'age. The re' s an off_but notion where a min;'tu re c a rd is p ro d uced . There's a greal 1lOYc!ly presentation when you see a razo l blade begin 10 movc, the blade suc ceeds in c utling up Ihe .... ho le pack cMCept the chosen card!

KEN

OE COURCY

Ken de Courcy's novel variat ion on "The Walle l" - "The Cald in the Ca rd-Case" .

Ca rd

You'l] find mo re in thi s neat liltle p rinled booklet, Iwelve pagc! and printed cover; with eleven easylo·f o llo w illus trations.

in

If you want Itn "nusual cll ld e Heet, fA Case Ca rds' will surely pro vide you wi th the ans we r.

It ' $ more IOCicaJ because it seems mo re impossible ; the card-case is in vie ... aU the t ime.

Price, £2.00, ( U.5J\. SS.oo).

145

fo r

THE

rrGREW-SOME" WAND A Supreme Exclusive! A leal lunny bil you can use III any lime in your 01 adults' show.

be lapped and ploved $ very gri m in the indus tr ial areas - ver y different to London ' s WeSt End wher e In the night clubs money was thrown a r ound rec klessly. I was not unawar e of hard times a nd have viv id memories of the 1914 -18 Wa r - the first Zeppelin nnd aeroplane bombing raids on Lonron. Those who talk about the 'good old clays' must be joking; rut of course It's always been ' good' for some folk .

It was a show at the Hippodrome (now 'Ta lk Of The Town') in 1923, called 'Brighter London', that motivated me to make the 'stage' my vocalion . Starring was Paul Whiteman and hi s or chestra from Arner ica . I loved theiF symphonic syncopating; was faSCinated by a novel use of inStruments , and a pr ogramme that Included many laughs - a variety show that pointed the way fo r me to proceed - to become a multi - instrumentalist and per forme r .

Ralfinllooked ve r y e legant in fu ll evcnlng dress, he was a fine mUSic ian and the best judge o f an audience I 've ever met . We. opened with a hright [lUmber; curtain rose; audience applauded; he turned to face them to aclOlowledge it with a gracious !KId of hi s head; he turned to face u s again. In those (0.." moments he had the audience 'we ighed"up'. If his thumb jX)hltcd u[M'ards they were okay, but if it was down it meant ' bottle ' , and thal was my first les:;on In stagecraft - if the audience is tough you don't lay down and cry for you r mum - you have a go:

RealisIng it couldn' t be oon e s itting on my backside and singing through a megaphone (the way we amplUled the voice, at that time) I started to learn saxophone, clarinet and guitar. In the meantime , T ca rr ied on drumming in nIght clubs, hotel s and pit o r chestra~ - this was possible because I a lso played tympani , xylophone, glockenspiel a nd chimes . I remember a show in 1928 called 'Funny F a ce' star r ing l augh- getters Leslie Henson and Sydney Howard , They were great, but the show's biggest success was scorcd by two dance r s fr om Amer ica, a br other and s is ter who became the rage of London - Fred and Adcle Astai r e. Watching those great ar tistes at wor k is someth ing l ' tI never forget. T he huge success of the Paul Wh iteman Band br ought forth many Briti sh cou nterparts, who late r became headlLners . T joined one of them; the Jan Ralnnl Orchestra . \h, played cine - vari ety at Super Cinema ' s whe r e, in the after noo n for s ixpence (it cOSt mo r e at night) , audiences saw feature and cartoon films ; a n Interlude on the Mighty Wu r litzer Organ and a 30 minute live stage show .

There were other le ssons to learn - how to 'walk' a stage when itwas my rum to s ing. We were separated from the audience by the empty orchestra pit, and we had to learn to ' bridge that gap ' · to 'project ' ; to 'reach' every part of the theatre . Microphones (at that early stage) were liable to frequent breakdowns and we had to learn to work without them (thanl;. goodness) . With Raltinl, I worked my fi r st summer season In Blackpool , 193 1 - 'On With The Show ' at the North Pier, a major show that played to packed houses even on the hottest summe r days. Blackpool was, and stili is, Britain's premier summe r show toWn . OJr season started mid- May and fin Ished end of October . We s Ul rted with a ' r ehearsa l week.' • half pay , not SO clever a s salar ies a t that time were low.

We a lso made gramophone records on wax master discS . if a mis take was made, even at the very e nd, It was bac k to the begin ning and you carr ied on (and sometimes on and on and on) unt lt it was perfect .

On the {jrst day of r ehea rsal week, I wa ited patiently for an opperru ne moment to explain to the prorucer that I was Singer In the stage band· show, but had been an acto r and would be happy to play any parts In the ' run -ons', sketches, any thing at all - nOt worried abou t extra salary, etc., e tc. . How much of that patter he believed I don't know , but it was e nough to get me plcnty of par ts to play during that long sea son . The lucky thing was that aU those I worked with wer e r eal pro's.

We a l so tou red the music hall s; an eye -open Ing experience that took. me out of London fo r

Fr ed Wal msley , the star of the show, a gr eat 'characte r comedian ' , waS then in his late 60' s ;

150

he'd been In the business since a todder and what he didn't know abou t it wasn 't worth knowing. Every time on stage with him was a object lesson. He was also very Idnd and when he realised I was keen to learn, he went out of his way to be helpful. The leading la dy was a young girl aged IS; years who had started on the stage as a child; and this was her first 'break' in a number one show ; she later became an Inter national star T ess ie O'Shea.

DJrtng r ehearsal week, I al so conta cted the head girl of the 'Tiller GIrls' a famous troupe of marvellous preci sion dancers - It was a joy to watch a line of girl s danCing II.s' one . Very differ ent to mOSl we see today , the ones I describe as the 'b r east belly and rum bouncers', who just stand and shake- that-thing. I told the young lady that I was in the stage band show and wanted to learn tap dancing; could she be helpful7 And she was; helped me to get the proper shoes and show ~ cd me so me basic steps: I went to the theatre every morning to practise for two hours . 8Jt the first morning there I found the stage full of a.rtlates, plus their kids, practising li ke mad - me 'speciality ' acts - dancers, acrobats , jugglers . They learned their c raft from the cr adle; dedicated and very kind people . The stage manager Coond me a corner where I could 'bas h my brains out' trying to tap dance,

and ver y often someone watched me for a while and then said, " Look son , try