f
- Y ,
by Alan Shaxon
Routined Magic
for-O The Cabaret Artist
O T h e M e n t a l i s t
O T h e C h i l d r e n ' s E n t e r t a i n e r
PRACTICAL
SORCERY
by
ALAN SHAXON
Illustrated by D E N N I S D E D I C A T I O NTo my faithful assistant and dear wife
ANNE
and our apprentices and chief critics
JULIA and PAULA
A GOODLIFFE PUBLICATION
1976 A L A N S H A X O N
C O N T E N T S FOREWORD by Michael Bailey,
Hon. Vice-President of The Magic Circle
INTRODUCTION Make it Magical
Chapter 1 GETTING STARTED 20th Century Cane and Silks
Tearing Up the News
The Nudist Brainwave Deck
Chapter 2 CARD MAGIC
Professional Cards to Pocket
The Invisible Card and Envelopes A Perfect Jumbo Card Chanse
My Favourite Card Trick
Chapter 3 MAINLY MENTAL Television Mindreading
The Jubilee Medallion Twistecl Psychometry The Great Directory Test
Chapter 4 A MIXTURE OF MAGIC Sucker Serviettes S m o k i n g a T i n . . . Balloon ro Rabbit Chapter 5 FINISHING STRONGLY Final Epic
Climax Newspaper Test Cabaret Rabbit Vanish
Chapter 6 CHILDREN'S HOUR
The Magical Television Set ii :: Page 2 4
FOREWORD
ff-l HOSE who read Alan Shaxon's first book My Kind of Magic
I (anA who didn't?) have been eagerly hoping he woul<t
r' write a second. They all had good reason, for Alan has
the knuck of creating some of the most entertaining and practical
mngie oround today. His effects do not require a lot of complex
bullding, they are routined to perfection and only that vital
Ingredient - good presentation - needs to be added to ensure
irenl success with audiences.
Alan is one of the busiest cabaret acts in a highly competitive
fleld, One of the reasons for his success can be found by reading
t't'rcliuil Sorc:ery, for it is direct, strong mysteries like those to
he revenlcd which have helped him to the top.
Tlte routines in this book are for the practising magician,
who lr looking for audience-tested magic suitable for presentation
u n d e r ir l l c o n d i t i o n s , i . e . s t a g e , c l u b o r c a b a r e t f l o o r .
Wc irll hope to find one trick we can use when we dig into
a mngic book. It is rare to find a book so full of good ideas that
dn€ lB tempted to use them all. But that in my opinion applies
f n f hir vtrf ume of Practical Sorcery.
You nre about to delve into a goldmine of valuable effects
rhlch I know will enhance your act.
MICHAEL BAILEY,
Hon. Vice-President, The Magic Circle.
l 0 t2 15 t 6 20 2 l Z J 26 J 6 40 43 30 J Z 34 49
MAKE IT MAGTCAL
URING the five years since the publication of my flrst book
My Kind ol Magic, there have been great steps forwartl in the performance and writings related to close-up and card magic, and experts in these fields have reached very high standards. On the other hand, the stand-up performer associated
with clubs and cabaret audiences does not seem to have been so
well served, and indeed very few among the newcomers to our
ranks have found any success in this field.
More and more we see the accent upon so-called comecly magic, usually being very lightweight in its mystery element. It has always been my belief that really good, baffling effects can be entertaining, indeed funny, in the hands of good performers.
I would like to see greater use made of situation comedy, which
is so suitable for magic, rather than listen to a string of one-line
gags that bear little relation to the effects being performed. Tommy Cooper and Latry Parker have hilarious comedy acts, and of course I am not referring to these, but rather the many
magic club members who insist on trying to be comedians before
they have become magicians. It is a hard line at which to succeed.
Robert Harbin has always been my idea of the ideal modern entertaining magician. He entertains all ages with original an<l baffling magic, having taken many of the great tricks and worked on them to suit the often diabolical conditions in which we are called upon today to perform.
We cannot all have the inventive genius of a Harbin, alas, but we can do our best to ensure that the magic we do will fool
a modern sophisticated audience. With that in mind, the effects
in this volume were put together for my personal repertoire, and
have therefore been well tried and tested. It is hoped that the
reader will find effects that interest him and that he will then
add his personality and humour, those magical ingredients that
will make his act entertaining to an audience.
iv
CHAPTI,R I
Getting Started
!i
II
I
I
_L_
2 0 t h C E N T U R Y
C A N E A N D S I L K S
, T h a s a l w a y s b e e n m y b e l i e f t h a t a f a s t m o v i n g a n d v i s u a l I r o u t i n e p e r f o r m e d silently provides the ideal opening to a I cabaret act. Performecl slickly it establishes one as tr magician clur-ing those vital moments when the audience are s e t t l i n g t h e m s e l v e s in t o p o s i t i o n . I n t h e s e d a y s o f s t r o n g N { u s i c i a n s ' U n i o n s i t a l s o m e a n s t h a t o n e c a n u s u a l l y m a k e u s e o f t h e f u l l b a c k i n g o f t h e b a n d , i f k e p t t o a r o u n d 2 m i n u t e s , b e f o r e t h e y v a n i s l r to t h e b a r t o e n j o y t h e i r b r e a k .
Bffect
Magician enters twirling a dress cane, holds it out between his hands and plucks a silk handkerchief from the knob of thc cane, and a second apparently from the ferrule. The two silks are knotted together and then wrapped around the centre of the cane, which is then rolled into a sheet of newspaper. With this roll in one hand. the other removes a rainbow silk from his pocket and in a flash the rainbow silk is transformed into the cane, the paper unrolls to allow the silks to drop, the cane has gone. Flicking out the silks, the rainbow is seen tied between the other two in true 20th Century fashion. A neat series of surprises.
Required
20th Century Silks: Two solid coloured silks, one preparecl as in Fig. l. Two duplicate rainbow silks, Fig 2, having corners matching the prepared silk. Tie a matching corner of the rainbow to the prepared silk, Fig 3, push silk and knot inside the 'bag'. The two silks appear as one.
A standard appearing cane with the duplicate rainbow silk attached is in your left inside jacket pocket. The two silks for the 20th century effect are joined by a length of black thread tieC to one corner of each silk. The length of tlre thread must b e f o u n d b y e x p e r i m e n t . W i t h a v a n i s h i n g c a n e a n d p i e c e o f n e w s p a p e r h a n d y y o u a r e s e t t o g o . F o l d t h e s i l k s i n t o s m a l l bundles, place one insicle a tuck of the sleeve on each arm, inside the elbows, the thread hanging across the body (Fig. 4.).
Working
Enter twirling the cane in the right hand, with the left thumb engaged under the thread loop. Stand with the cane between the hands, stroke the end of cane with the right hand, 2
I
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Fg3
and by engaging the right thumb under the loop of thread and cxtending hand to the knob of cane, the silk will leave its hiding place and appear at the right fingertips, apparently from the knob of the cane.
Repeat this production with your left hand at ferrule end
of the cane to make the second silk appear and in displaying this
snap the thread. Tuck the cane under your left arm, knot the s i l k s t o g e t h e r ( F i g . 3 ) and roll them loosely a r o u n d t h e c e n t r e o f
the cane. Wrap the cane in the sheet of newspaper in preparation
for the standard vanish of a cane in newspaper. Allow the cane
to collapse into your right hand as usual. The silks will not
prove a hindrance in this nanoeuvre. Ditch the cane and knob irr jacket pocket as you remove the rainbow silk. With paper
roll in left hand and appearing cane-to-silk ready to go in the
light, simultaneously let paper unroll and silk change to cane.
As the silks fall, catch them on the end of the cane, and flick
thcm out to show a chain of three, always a fine applause cue'
Practice alone brings smoothness to this type of routine,
wlrich must flow. In my case I have a Topit vanisher under the jacket on the left side to take the cane as my hand goes to inside
jrrcket pocket for the cane-to-silk. Such adjustments must be
rrrirclc to make the routine fit the individual performer.
INNTCH/NG coEaA/3,2 TUOI< /N KNOT SEWON WTTED TiNE SoLtDCALOU?
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stLt< I I Z A I N B O W s l L K -S/LK5 H/DPEN IN rOLDSFgZ
A
packet Effect
T E A R I N G
U P T H E N E W S
PRACTICAL and professionally tested merhod and
routine for this classic effect. Prepared in a moment, the tearing is cut down to three simple tears, no folded
s to be concealed and the flash restoration is immediate.
A newspaper is shown freely, torn into pieces and in a flash
is restored. Required
Two duplicate newspapers, preferably tabloid size for easier
handling. Only the two outer sheets of each paper are used, the
rest discarded. Tube of "Copydex" or similar glue. *
Take outer two sheets and number pages 1 to 8 for ease in
following directions. Open at pages 2 and 3 and apply glue, as in Fig. 1, to page 3. Close paper so that page 2 sticks to glue, and fold back page 2 (FiS. 2). Apply glue as shown in Fig. 3.
From your discarded sheets tear two pieces, one half-page size,
one quarter page size, leaving rough edges, and stick these two
pieces on to glue as in Fig. 4. Finally place the duplicate paper
inside the other copy, as in Fig. 5, and fold down the top
corners of the duplicate as shown, just one thickness at top left,
but turn down three corners at top right.
Tl/orking
Holding paper in right hand, show back and front, and
turning left shoulder towards the audience, open at first page,
face front and open next sheet (prepared duplicate will be facing
you now), skip over cluplicate ancl open back page as you swing
round with right shoulder to the audience.
Open paper as in Fig. 6 and tear off two sheets on the right.
Place the pieces in front. Turn all anti-clockwise to Fig. 7, fold
in half to crease paper and open out again, but open out only
the outer paper, leaving folded duplicate on the left, as in Fig. 8.
Tear off the four pieces on the right and place these in the front.
Turn anti-clockwise again to position in Fig. 9, with the pocket
piece facing you. You can show paper both sides, torn edges of
paper disguising folded package. Fold paper in half again to
crease it, open outer paper again, leaving lolded dupltcate on tlrc
right side (Fig. 10). Tear off the eight pieces on tlre left and
4 I E : t : :DUPLIA i i I : ;.t-TEAE :FoFF : r c C K E T
place in front. The odd piece 'X' stuck on to duplicate will now be on top, and all can be freely shown both sides, to look like a pile of bits, this odd piece masking the packet.
Place all into left hancl and from the top it should be as in Fig. 11. On top are the loose pieces, under them the folded duplicate. The thick folds of duplicate are at the end nearest your body on the left side; the folded corners will be under pieces at the far right corner. The right hand holds the right edge, as l e f t f o r e f i r t g e r m a k e s a b r e a k a t ' Y ' i n F i g . 1 1 , b e t w e e n t h e pieces and duplicate, as left hand takes over the hold on paper. Now right fingers go into the break at 'Y', run around in the tlirection of arrow'Z'. Here the right hand takes over the hold on paper, actually holding pieces between thumb and forefinger,
and lolded down corners only of duplicate between forefinger and other fingers.
The left hand drops away and the right hand immecliately moves smartly out and forward towards the audience. This causes the duplicate to flash open and left hand comes up and takes loose sheet on left, Fig. 12. This action opens automatically the big pocket and right hand lets go of pieces, which fall down into pocket. Rigirt thumb goes under the top sheet in right hand and passes it to left, then leaf through rest of paper to show it. Fold it in half from top to bottom and throw aside. Pieces will be securely locked in the pocket.
*
Patter
"Magicians have a reputation for being a destructive lot. When they are not sawing up someone's wife, they may be burning someone else's banknotes, or even tearing up the day's newspaper. It js all the fault of you audiences . you clap like mad when the wife is sawn in half . . as long as she is not yours . you laugh like mad when the money goes up in smoke . as long as it does not come from your wallet . and as for newspapers it does not matter anyway, for if t h e m a g i c i a n k n o w s h i s j o b , i t a l w a y s fi n i s h e s u p a l l r i g h t i n t h e e n d ! "
t)
T H E N U D I S T B R A I N W A V E
D E E K
HIS novel version of one of magic's most direct effects, has the virtue of being more visual than the original. It makes an excellent ooener for anv act slanted towards mentalism.
Effect
The performer displays a card case at his fingertips and explains that the pack contains one odd card, a stranger card, iust one card of the 52. "Sir, if I asked you to name that odd c a r d , t h e o d d s a g a i n s t y o u w o u l d b e 5 1 - 1 , s o l e t u s r e d u c e t h e odds in your favour, we will say evens is it red or black?" Assuming that red is named the performer addresses a second member of the audience: "So far we have chosen red, so keeping the odds reasonable, madam will you choose either hearts or diamonds please." Assuming diamoncls is called, he addresses a third person: "Sir, we are going to give you the difficult odds of 12-l . .. . . . just name any diamond in the pack please the seven of diamonds, thank you." The performer removes the pack from the case and spreads it backs towards the audience, one card is face out. the seven of diamonds. This card is removed ancl placed on view in his outer breast pocket, as he fans the pack faces to the audience . . . . . the faces of the rest are all blank!
Required
The special pack consists of 26 black cards taken from a straight pack, and 26 red cards from a blank-backed pack. Rough the faces of all the cards with roughing fluid and when dry a s s e m b l e t h e p a c k i n p a i r s , f a c e t o f a c e . A O / K Q , 2C/QQ, 3 O / J O e t c . , t h e r i A V / K & , 2 V / Q & a n d s o o n d o w n t o K V / A * . W h e n s p r e a d b a c k s u p t h e t o p c a r d s o f e a c h p a i r r u n Ace to King of Clubs, Ace to King of Spades. When spreacl blank faces up they run Ace to King of Diamonds, Ace to King of Hearts. Mark with ink dots the corners of Aces and sevens to speed up counting later. When complete the pack can be spread to appear as a pack with backs but no faces.
Working
There are two ways of handling the pack and indeed the cffect, accorcling to whether the chosen carcl is red or black.
(a) Red Cards
Spread the pack backs to audience and in spreading separate
the selected card, which shows to audience as the one face up
card. Remove this and place on view in outer breast pocket, cutting the pack at the point of its removal, so that the odd black card of the pair is brought to the top of the pack. Spread the pack backs out to show it was the only reversed card, then fan faces out to show the rest of the pack is completely blank. (b) Black Cards
Spread the pack backs towards the audience as before, turn over and spread again with faces to the audience, separating
chosen card as before, which shows as the only card with a face.
This card can then be shown face and back.
The presentation is detailed in the effect, and involves
audience participation without anyone having to leave their seat.
CHAPTER 2
Card Magic
i'.i;;
PROFESSIONAL
CARDS
TO POCKET
CLASSIC elTect, the twelve cards to pocket has always been a test piece for budding magicians. Today's audiences are attuned to quick-fire routines ancl here we
pack a lot of action into a short time. Credit for the climax is
due to Cecil Keech, whose marketed effect .,Transita', insoirecl
the handling that follows.
Effect
Five cards are counted from the pack and pass up the sleeve into an empty trouser pocket. The magician explains that the cards go up the sleeve by shrinking them, whereupon they diminish to half size, then qlrarter size and finally an eighth,
before becoming completely invisible. They appear in the empty
pocket, but are now all Jumbo size!
Required
Your trousers must be equipped with a fake pocket. If you
study your right trouser pocket, it should have on the outside two
pieces of material stitched together. This join is unstitched and
another pocket sewn in that space alongsicie the existing one.
The obvious thing is to have this fitted when the suit is made by
the tailor. I always have them both sides for the convenience of
keeping various props separate. The outer pocket can be pulled
out, showing the pocket empty, while at the same time the inner
one can conceal the cards.
In addition you need a diminishing card set as shown, five Jumbo cards and of course a pack of cards. One card, say the
Jack of Diamonds, is held in a clip under the left side of the
jacket near the armpit. Working
Prepare by having the five Jumbos in the inner of the double trouser pocket on the right side, along with two cards from the pack. With the pack in the left trouser pocket, the Jack in the
clip under the jacket as mentioned and the diminishing set in
the left jacket pocket, you are set to go.
"Peopie often say, you magicians are very clever characters,
br-rt you do annoy us because you never explain how the tricks
are done. So tonight I will show you a simple card trick and, if I
get enough applause, I will explain how the whole trick works!"
1 0
THIZEAD
Take the pack from your left trouser pocket and continue: "For this you need a pack of cards, and the easiest part of the trick, an empty trouser pocket."
Here you pull out and replace your spare pocket.
"We do not need the rvhole pack, just five cards, one, two, three, four and five."
On the count of flve, the cards are squared against the pack, leaving the fifth card on the pack, so that you have just four. Drop the rest of the pack into the left jacket pocket, so that it is against the full size card of the diminishing set. Flick the cards, passing one, remove one of the cards from your trouser pocket ancl count the four remaining. The card is placed on view in your outer breast pocket. Apparently pass another, and take the other card from your pocket; buckle count the four remaining cards as three. In squaring these keep a little flnger break under the top three cards. Stating that you will pass two together, palm off the top three into your pocket, bringing out only one. Pull out.the fake pocket, the fourth card apparently is lost
"Probably the Jack of Diamonds up to his tricks again." Produce the Jack from the clip under your jacket. Finally take the last card in your right hand between thumb and fingers at the ends, apparently place in left palm, but actually palm it in the right and produce it from the pocket.
Alternatively vanish the last card at right fingertips with back and front palm and reproduce it from your pocket. It clepends on the conditions under which you are working.
PEAP VlEW
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1 1 '/' t\ @* q *
"That makes card number fivel" Display the five cards and bow to the applause.
"I promised to show you how it is done, so watch." Here
you remove the pack with the diminishing set at the rear. Spread
the cards, and leave only diminishing set as pack is removed and
discarded in right jacket pocket, with the comment "That should
be enough, otherwise it takes too long!" Explain that the cards
shrink. Fold card in half and fan out the five half size cards.
Squeeze and fan again, but hold low behind your fingers so that
only half the fan shows. Squeeze again, this time palm ofi the
main set leaving only the smallest cards in your left fingers, ancl
discard the others as your hand removes a card from the pocketed
pack to compare the size.
Finally use the French Drop to vanish smallest cards, produce
the Jumbos from your pocket, and display in a fan for the climax.
As these are removed of course the palmed smaller set is left in
the nocket.
T H E I N V I S I B L E C A R D A N D E N V E L O P E S
TRIED ancl tested comedy routine with the invisible pack,
always a winner, and ideal to follow the previous cards to pocket.
Effect
Magician states that the previous trick requires careful
practice, otherwise you can overdo it and all the cards become
invisible, and he shows such a pack! After apparently shuffling the invisible pack, it is thrown to a member of the audience to
mix, fan out and have a card chosen by his neighbour. The
magician tosses over an invisible envelope and has the 'card'
sealed inside, the person naming it at this stage. Now advancing
on the spectator with a real, but empty letter envelope, the performer has him place his inside and all is sealed' After a pause the envelofe is opened, inside is a second real one ancl it
contains a card, the very one named.
Required
The initial preparation is rather tedious, but once done it is
the work of a moment to reset after each showing.
l?.
You need s'even fake letter envelopes as illustrated. From
seven more the address sides are cut as shown and inserted in the
seven unprepared ones, to give a hidden pocket. Make these from
top quality envelopes. In England 'Churlston Deckle', No. 6
size in wedgewood blue, are perfect, and these are lined with dark
blue tissue. Their thick quality hides the bulk that will be
concealed in the fake pocket.
Next you need lourteen small manilla envelopes, end opening. Into each of these is slid a piece of thin springy card, which acts as a divider. Into these envelopes you place a full pack of cards, lour to each envelope, Aces in one, twos in the next etc., and the Joker having one to himself. The cards are placed Diamonds, Hearts, the divider, then Clubs and Spades.
Load the small envelopes into your large ones, Aces and twos in{o the fake pocket of the first, then threes and fours and so on. The Joker goes into the last one with the Kings. Seal the flaps together lightly, cut a slip off the corner of the outer flaps with scissors to ease opening the secret compartment later.
*
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nW FUE,I ENVELOPE fu\ QoTm-) DIVIDEPMEA'UP6 lt'x27i (zsx6rnn)
[;;i"P"" "'-l
I ..iFinally number the envelopes 2,4,6, 8, 10, 12 and 14, the Aces and twos being in No. 2, threes and fours in No. 4, etc.
Place the envelopes into the pockets of your suit as follows:
Inside jacket pocket on left side Nos. 2 and 4, left hip pocket 6 and 8, right hip pocket 10 and 12, and No. 14 in the right inside jacket pocket,
lVorking
Present the effect with all the gags you can muster, throwing
out the invisible pack and having it shuffled. "What are you
doing? You haven't taken them out of the box yet!" Have them
fanned out for the selection of a card. "Please hold it high in the
air, so that the rest of the audience may share in this experience!
fn case they cannot see it, please call out the name of the card!
The Seven of Diamonds? What an imagination!"
Now toss out an invisible envelope and have the card sealed
within. During this bit of business you have time for your mental
exercise, which is very simple. If an even number is called it
will be in the envelope of that number, if odd as in our illustrated
example the Seven of Diamonds, just add one and it is in envelope
No. 8, and you can quickly work out that this is the innermost
one of the two in your left hip pocket. Slip this envelope out as
you approach the person with the card (?), open it out and show
them that it is empty, before they slide in their invisible envelope.
On your way back seal the envelope securely.
"I had a terrible night last night, I could not sleep. I had this ridiculous dream that I was doing card tricks, and when you are a magician, then that means you have reached the time to worry. I was doing this trick with a pack of cards that did
not exist . then the post came and there, along with the
bills, was this envelope . , , I opened it up and inside was a
smaller envelope just like the one you had, and it
contained a playing card, just one card . you won't believe
this, but it just happens to be your card, the Seven of Diamonds!"
This is very strong stuff and really shakes any audience.
During the patter above you have opened the outer flap to
gain access to the secret pocket, removed the appropriate smaller
envelope (odd one is first, the even next remember) and now all
you have to do is cleanly remove the correct card of the four. This is where the divider comes in so neatly. If you want a red
card, buckle the envelope downwards with the thumb, and the
divider will spring down against the envelope, trapping the two
t 1
hlack cards against the side. You can then put your forefinger in
und slide out the appropriate red one. To get at the black cards,
just buckle the envelope upwards to get the red cards out of the way.
After performance, make another outer envelope, and reset,
I often use this as an encore to the regular act. No props, it's
funny and packs a wallop at the end.
A P E R F E C T
J U M B O C A R D C H A N G E
HERE is nothing very new about changing a Jumbo card by
means of a window envelope, but in the belief that often
the little things can turn a trick into a miracle, the following will be found useful. It can be used surrounded in
close-up and the illusion is most amazing.
llffect
A Jumbo 8 of Diamonds for example is shown both sides,
und a window envelope can be examined. The card is slid into
the envelope, the back seen through the window. When slid out
with the window towards the audience all looks fair. but the card
hns changed, say, to a 5 of Clubs.
llequlred
Fig. 1 shows a Jumbo card (8 of Diamonds) with paper
rtrntching the inside of the envelope stuck on to its back. A strip
lq cut I'rom another card and attached by means of sellotape
rlorrhlccl over at the bottom and ends to form a pocket, as shown.
X rrt thc top is a dab of Melrose. The envelope is a manilla one
wltlr a window cut into the address side. The black line drawn
nround with a felt pen neatens the job. The 5 of Clubs is slid
lltto thc pocket of the other card, lined up and held by the M e l r o s o .
ltorklng
I luve the card in the envelope, back to window, pocket end
ol' cut'rl(s) going in first (Fig. 2). Show envelope back and front,
llre rr lrrking card at X remove it and show it around. The design
urr pockct nratches the back of the card and is invisible. Hancl at
X holtls nll square. In close-up you can have them look at the
ettvelrtpc und then slide the card in. During this the back is
seen going down past the window and it then stays in view. To eflect the change, the fingers of left hand hold closed end of
envelope, with a finger nail overlapping the bottom edge of the
window as the right hand slides out the card. The finger nail stops any movement of the 8 of Diamonds, allowing the 5 of
Clubs to slide out. The envelope still looks empty as before, yet
you have changed the card.
M Y F A V O U R I T E
C A R D T R I C K
NE is thrown a pack of cards with the request "Show us a trick!" It happens to all of us. This has been my favourite routine for those occasions for some 25 vears.
having found the basic idea in an early book by Eric Lewis, During those intervening years my handling has changed. It is
described in many versions by others, but I hope some of you
may, like me, count it amongst your top effects.
Effect
A pack is shuffled, one card chosen and placed face down
on the table. The magician endeavours to find the three other
matching cards and repeatedly cuts the cards, shows the top one
and each time places it beside the chosen card. With the four cards in line, it is obvious that something is amiss, the three cards do not match! He turns them over and now they do match, a startling climax. The pack is spread out and the cards the audience apparently saw before, are missing and are founcl
sealed in the performer's wallet!
l 6
Required
The wallet I always carry is faked for the card in wallet.
'l'ltcre are many different types and the one illustrated will stand
cxamination if you can find one like it.
Working
With your own or borrowed pack, idly sort through it, culling lhc following cards to the top. Any other matching cards will rlo of course, e.g. Ace, Ace, 5, Ace, 5, Ace, 5. False shuffle as
nruch as possible, then force one of the top two Aces, by a fan
force or riffle force. Have this Ace put on the table.
False shuffle and cut, then double lift showing a 5, and
rcplace on top, sliding the top card beside the Ace. Do a double
undercut to bring the top 5 to the bottom. Again double lift, nhowing a 5 and slide off the Ace. Repeat the double undercut
rund a double lift and the third Ace joins the others. Acting is
vitnl, as you have apparently made a mess up. Double undercut
idly as you ask what is wrong. Finally have them turn over the Accs and watch their faces,
As they turn over the cards, bottom palm the 5's in your
lcl't hand and reach for your wallet. Load the cards and toss the
w l l l c t o n t h e t a b l e .
What did they think the cards were? Look through the pack
nrrd ioss out the only 5, unzip the wallet and show the other three
Irrrrl lleen there all the time.
As the routine depends on three double lifts, ensure that
v,rrrr hunclling differs in some way cach time to avoid repetition.
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r.r.* vg*CHAPTER 3
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Effect
T E L E V I S I O N
M I N D R E A D I N G
SELF-CONTAINED impromptu effect, using a novel number force which can be used for manv routines.
Showing copies of the Radio Times and TV Times, preferably
borrowed, the performer has one chosen to be put aside for usc
in the effect. From the remaining copy all the numbered page corners are torn off en bloc, two freely chosen and the four
numbers added. Using this total for the page and column in the
other periodical, the performer can divine the programme, cast
and other relevant details.
Required
Any magazines can be used, but the make-up and ready
availability of the Radio and TV Times makes them ideal.
Newspapers are also quite suitable, but care must be taken to
ensure that they consist only of double sheets, no singles.
Beforehand take the Radio Tinres, look at the back page
number, double it ancl adcl 2. Therefore if it has 60 pages, the
force number is 122 ancl you look up the details of programmes
in column 2, on page 12 of the TV Tintes. Repeat your homework
with the force number from the TV Times. Working
Explain that one magazine is to be freely chosen and put
aside for use later. Take the remaining one, open it in the centre
and tear out en bloc all the numbered corners in the back half
and place them down, back page number at the bottom. Tear
out all the front half numbers and place that pile beside the other
one, page I on the bottom.
With both hands, simultaneously pick up pieces from both
piles, tossing them aside until a call of 'Stop'. Give a choice of
the pieces in your hancls or the next two, then add the four
numbers together. It rvill be the force number and you hand them out for checking.
Now have them turn to ths relevant page and column in thc
other magazine and go into a trance or whatever is your style, as
you divine all the information. Gather all the corners up, mixing
them a bit, so that no clues are left.
20
T H E J U B I L E E
M E D A L L I O N
T THE Magic Circle one evening, Pete Biro, Ali Bongo and
myself were discussing Al Koran's Gold Medallion effect.
No-one seemed to have seen Al Dresent the effect and two
different versions had been published in the two books purporting
to describe his methods. This version is almost too direct and
really shakes an audience. Bob Swadling made the props for me
and a great job he made of them. The effect has been used in
many of my cruise programmes.
Uffect
Throughout the act the performer is seen to be wearing a medallion on a chain around his neck, in the way that has become quite fashionable for men today it seems. Taking a
small notepad and pen, the performer suddenly points at a lady
in the audience, asks for a number from one to ten and writes
this on the pad. Repeating this with two other ladies, a three
ligurc number is formed. Pad is placed in breast pocket with
rrtrnrber showing.
The magician then describes a Convention of Magicians that
Irc recently attended, where almost 1,000 of the world's foremost
rrragicians were present and each one was given a medallion.
lnviting a member of the audience up beside him, he removes
llrc medal, describes it and explains that each registrant at this
('onvention was given a number. He asks the helper to look at
the back of the medal and on it he sees a number inscribed in
g o l d . I t is the very number p u t together b y t h e a u d i e n c e .
Required
The medal is required first, a chunky one for preference. Mine is that given to registrants at the Tannen Jubilee in New
York in 1973, with hands, playing cards, etc., and which inspired
lhc presentation. Find a medallion and then devise a presentation
to lit. A mechanic must drill out the medal as illustrated and a
rrrugrrctic disc is made to fit exactly in the recess, this latter in
nry case being of black plastic, roughened with wire wool to take
rrrr inrpression. The whole looks and works like a magnetic shell
coin in fact. The medal is worn around the neck on a chain,
one end of which is attached to medal, the other end held to it
with a link made from soft solder.
The pad. This is made as shown by glueing a few visiting
cards together, with a sheet of notepaper pasted on. The recess
in the pad takes the plastic disc. Beneath the top card is fixed a
piece of carbon, i.e. behind the window. Letraset sell'Gilt Edge'.
It is not too readily available in the shops, but the address is
Letraset Consumer Products Ltd., Wotton Road, Ashford, Kent
'TN23 2JU, England, and your local stationer can order it for
you. Have a good ball-point pen handy.
Working
Take the pad and pen from your pockets, confront a lady
in the audience and ask for a number from one to ten . . . 7 . . .
smile and write this on the top sheet. Ask another lady for a n u m b e r . . . 5 . . . " S t r a n g e , y o u look like a 3!" Don't comment, 22
but ask for a third number, say 2, and look pleasecl. Display pad
rund number, then allow disc to slip out of slot into finger ptrlm
of left hand. Put pad in outer breast pocket, with number on v i e w .
Reverse the disc in your hand and go straight for the medal
rrround your neck, slipping the disc into place as you pull the
c h a i n a p a r t . D i s p l a y t h e m e d a l l i o n h a n g i n g a t t h e e n d o f t h e c h a i n .
Invite someone up to examine the medal, and as he
approaches revolve the disc in its recess so that the gold number
is the right way up. Describe the engravings on the medal and
the inscribed wording. Have him turn over the medal and tell
thc audience the number 'inscribed in gold' on the back. A
stunning effect!
Many presentations are possible, e.g. an athletic nedal could contain details of an Olympic event, High Jump, height ()ft. 9ins. (3 metres) at the games in Surbiton, etc.
TWISTED
PSYCHOMETRY
II /HILST having a great liking for mental effects, thc
f} serious mental approach is not my style, so I am always
on the look out for combinations of magic and
rrrcntalism. The climax of any effect is what blin-es the applause
irrrcl this effect has a good punch at the end.
l,lffcct
Three members of the audience choose cards while the pack
is in their hands, then freely shuffle these back into the pack. [)cspite these conditions the performer attempts to find the
choscn cards by touch alone, without looking at the cards. Hc
rrrns through them, removes three and places them on a display
lroartl. The cards are named and these names written against tlrrr face down cards of the oerformer. When the cards are
@
turned face up, they are all wrong! tseing a better magician
than a mindreader, he makes a pass over the cards, turns them
over again and they are the correct ones.
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RequiredTrvo matching packs of cards, Pack No. I is prepared by dividing it into three heaps, and each card is marked on tlre back at top left and bottom right corners, in such a way that a glance at the back will tell you that it belongs to heap 1,2 or 3. Make tl.re marks very clear, otrviously incorporating them into the design of the packs you are using, preferably removing a bit of the design with a razor blade. Then treat the faces of all cards with roughing fluid. Assemble the pack with heap 1 at the face, then a Joker, heap 2 and the second Joker, then heap 3. This pack is in a card case.
Pack No. 2 is prepared by discarding the Jokers and treating all the backs with roughing fluid. If necessary you may have to polish the untreated surfaces of the cards in both packs. It depends on the finish of your particular cards. This pack is in t h e l o w e r r v a i s t c o a t o r c u m m e r t r u n d o o c k e t o n t h e l e f t s i d e . The Display Board
This is shown in Fig. 1, made up like a blotting pad, leather corners, etc. An elastic band, a wide one, is around the pacl to 24
hold the cards. Fig. 2 shows paper stuck on to form a pocket of the lowest section, the edges being hidden by the black lines made with a felt marker pen. Numbers l, 2 and 3 are down the left side.
Working
Remove Pack No. I fron, the card case and false shuffle, run through them face up and toss aside the Jokers. In doing this keep breaks with the fingers to separate the three heaps. Hand the pack out to three members of the audience, one heap to each. Each person shuffles their heap and chooses one card. You now collect the rest of the cards from them and turn your back, so that they may hold them up for the rest of the audience to see. While your back is turned, drop Pack No. 1 in your: Ieft jacket pocket and remove Pack No. 2 with your right hand. Hand out Pack No. 2 for the return of the chosen cards, letting cach person shuffle their own cards into the pack,
Now run through the cards, without really looking at them and feel for roughened pairs. A quick glance will tell you if you have them correct, as the back of the rear one will be marked and you can at the same time tell which heap it comes from. Itemove that pair of cards and, without showing the card(s), slip it under the band on display board against the appropriate Irumber. Repeat with the other iwo, actually taking two cards each time and putting them under the elastic.
Pointing out the impossibility of finding their czrrds, state lhat at present you have no idea whether you are right or wrong. Have the chosen cards named and write these narrres against the I'acc down cards as in Fig. 4. Turn the cards face up and they are irll wrong. Obviously each pair must be carefully handled as one c a r d .
Mentioning that you are a better magician than a mindreader ctc., you meanwhile turn the board towards yourself and turn the lhrce cards face down a,eain under the elastic. However, during this you separate each pair as in Fig. 5, sliding the face card into thc pocket at the bottom of the board as the others are placed rrncler the band. Now turn the board to face the audience, flick your fingers over the cards, turn them face up, and the tables Irave been successfully turned!
Paper facing of the pad must be renewed at each showing, but armed with a large artist's pacl, scissors and glue, it is only the work of a few moments.
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.a 25THE GREAT DIRECTORY
TEST
S A young boy I well recall that Teiephone Directory tests really impressed me. I asked my near neighbour Ernest E,. Noakes, a Vice-President of The Magic Circle, ancl a
leading light in the magic of his day, if he could provide me with
a method for my show. Before me as I write are three foolscap
pages of his manuscript, detailing the trick that was to feature
in my act at the time. ft must have been a long act, for his
method meant a tour of the auclience on three occasions, ancl it
took 20 minutes to get a climax of one phone number! Times
have changed and one is expected to get through an act in that
time today.
Others have sought the perfect answer. Ralph Delvin had
a great one. McComb has got up to all sorts of capers as detailcd
in his book, and both Peter Warlock and Arthur Carter had great ideas. Much credit for this method is due to the latter two great thinkers in magic and I believe what follows is an impressive feat for performing anywhere.
Effect
A number of large telephone directories are handed to a
spectator. Members of the audience write suggested page numbers
on a pad, which is then handed to the spectator with the
directories. He decides on a book, mentally chooses one of the
suggested numbers, turns to that page and freely chooses a
column. As he reads the top entry, the mentalist gives the name,
address, occupation, and finally turns a board on which he has
been writing and tlrere is the exchange and telephone number.
Required
A number of directories. I use the London A to Z, Greater
London Business Directory, and the West Thames Edition, all
commencing at page 1 and having upwards of 700 pages. The
pad is the clever Add-a-No pad, (Publislrcr's note: Any pad to
switch otrc set ol numbers for another will do; that recommenderl
works very *-ell). Sold by dealers, the leatlrer version by Supreme
i s r e c o m m e n d e d . O n t h e s e c o n d s h e e t y o u jo t down the numbers
113, 124, 356, 624 and 633 in various hanclwritings.
One marker pen is required for each directory, the Varyline
n r o d e l b e i n g i d e a l , b e i n g 4 l - - i n s . ( 1 1 2 m m ) i n l e n g t h . T h e 'barrel' ) ^
is 3*-ins. (81 mm) long. Take a piece of notepaper S*-ins. x 3-ins.
(138 x 75 mm), divide as illustrated and flll in the details of the
relevant directory eutries, abbreviating where necessary. You
need 15 entries in all for each directory, the top ones of each column on the five pages suggested. Stick the cue sheet around the 'barrel' of the pen and fit each pen with a celluloid 'sleeve'.
These 'sleeves' have some advertising matter rolled within the
celluloid, but a window 3-ins. x *-in. (75 x 12 mm) is left in the 'sleeve', through which can be seen the three entries for one page. The three pens are placed in three pockets of your suit, so that on knowing the chosen directory, you can immediately take out the correct pen.
Finally a blotter is needed, with plain paper replacing the
hlotting paper for writing on.
Working
Hand the directories to the spectator and have him sign for
them by placing his signature on the top sheet of the Add-a-No pad. Owners of this pad will understand that he has in fact signed the second sheet! Pad is handed out and five various people asked to jot down three-figure numbers, 100 to 700, for the choice of a page. Collect the pad, switch the top sheet for
your predetermined numbers and hand the pad to spectator. With
MAIZKEPPEN
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tlte Supreme model in a leather wallet, you have the fifth person close it, so there is no chance of you seeing the written
numbers. Spectator mentally chooses one of the numbers, but
does not announce it, and turns to that page in one of the
directories before him.
As he does this, you take up your writing tablet, reach into your pocket for the relevant marker pen and note where the spectator opens his directory, i.e. front, centre or rear of book. This tells you whether it is page 113 or 124,if. in the centre 356, the back being 624 or 633. If he looks at a right-hand page it
must be 113 or 633, left pages, I24, 356 in the centre , or 624 at the
back. Ask him for a choice of columns l, 2 or 3 and, as he reads
you prepare to write on the tablet. Behind this you revolve the
sleeve on the pen until the relevant page details show through the
window. Check the L or R against page number, to make sure you have it right and read the details for the chosen column. Start writing the telephone number on the tablet. Meanwhile
you state the name, address, etc., with as much showmanship as
possible.
For the climax, have spectator call out the telephone number.
Turn your tablet for the applause cue.
CHAPTER 4
A Mixture of Magrc
ru
S U C K E R
S E R V I E T T E S
LWAYS a good programme item for children or adults,
the sucker torn and restored paper, in squares, strips or
whatever, has been described in countless routines. What
follows is logical, simple and the working is over almost before the audience is aware that you have started. It has been a
regular in my programmes for nearly 25 years.
Efrect
A white serviette is torn and the pieces screwed up into a ball. Sprinkling invisible restoring powder over the ball, the performer opens it to show the serviette fully restored. He offers to explain the secret and tears the serviette again. A secret
duplicate is kept in a pocket and to demonstrate it clearly, he
removes a balled red serviette from his pocket and leaves it showing in the opening of the pocket. Describing how the 'powder' is a lovely excuse for getting hold of the duplicate, the red ball is concealed in the fingers and the exchange clearly shown. Finally the ball of white pieces is also seen to be
surprisingly restored, finishing with whole serviettes, one white
one red, and the audience none the wiser.
Required
Choose cheap serviettes which are easy to tear. These have
a grain, so practise the tearing carefully so that you can do this neatly. They are torn into quarters each time and squeezed
gracefully into a ball with the one hand.
Your inside left jacket pocket contains a folded white
serviette along with a duplicate white one folded and screwed into
a ball. In the right outer jacket pocket have a white serviette ball
in the front corner and a red one balled up and tucked into the rear corner of the pocket.
Working
Remove the serviette from your inside pocket, taking the balled duplicate at the same time in the finger palm. Flick open
the serviette and tear into four pieces, place these on your right
fist and push the centre of them into opening of fist with left forefinger. With the right hand squeeze them into a ball. Transfer ball to left fingers, exchanging them, and right hand travels to right trouser pocket to obtain the 'invisible restoring 3 0
powder'. It ditches the pieces there, brings out the 'invisible powder' and sprinkles it over the ball in left hand. Blow on the ball and open out to show restored.
In bowing to the applause, my right and left hands go to my
jacket pockets, straightening the pocket flaps and in the process
the right hand secures the white ball. This may not suit you, in
which case you have this balled serviette in a holder under edge
of coat, or wherever it is easy for you to get at it naturally. The
audience think the trick is over, so one does not have to be too
clever about this, natural boldness is the best solution.
Repeat the tearing and exchange the pieces for the duplicate
as before in passing them to the left hand, as the right hand goes
to jacket pocket and comes out with the red ball, ditching the pieces at the same time. Show the red ball and put in pocket opening on view, 'so you can follow the working'. Hand goes to pocket for the invisible powder, which you say gives a good excuse for obtaining the duplicate serviette in your fingers, and
you show the red ball concealed there. To exchange the pieces
for the duplicate, misdirection is called for, you say. Pass the white ball into right hand, and extend left hand and arm. Tell them that you then wiggle your fingers and say that 'at no time
does my left hand leave my wrist! This always produces hilarious
laughter and during this you exchange the two balls in your right
hand! Do this very openly, open out the red serviette and bow to
the applause'.
Finally explain that if anyone spots the pieces hidden in your
hand, then you must be a real magician, and without the use of powder, blow on the bits and they too will be restored . . . open
the white serviette and take your third round of applause as the
orchestra gives you yet another big chord.
31
S M O K I N G
A T I N
ANY will recall Al Koran's routine for the old soot trick. which he featured for many years in cabaret. Fire is
always a good attention getter and this short little cameo,
preferably with musical backing, provides a pleasing interlude in
any general magic act. The routine that follows was designed to
avoid ditching a flap and switching a coin, thus making it completely angleproof, in my view an essential for any effect
used in today's cabaret conditions.
Effect
Two nested baking tins are shown and, to the accompanying
story, one is smoked with a bunch of wax tapers, covering the inside with soot. A coin is borrowed, the digits of the date added and dropped between the two tins. When the top tin is lifted, there is the total written in the soot. The coin is returned.
- - F
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r
Obtain a bunch of wax tapers, about six held together with an elastic band, and have some water in a small glass for dousing the tapers when alight. Take a 10p coin, add the digits of the date and write this number on one tin, having smoked the inside of this with a good layer of soot. Drop your coin on the sooted surface, cover this with the flap and nest the second tin within this one. If you lightly smoke the upper surface of the tin flap at this stage, it will save too much smoke and burnt fingers during the performance!
Working
"During a recent visit to Africa, I called in at a small village, and found an old man standing in the main square, smoking a
tin . . . . obviously cigarettes were in short supply at the time!"
During this introduction you have taken the nested tins and shown these. Spin the plain one in the air and place it on the outside of the tin with fake. Light the tapers and commence
smoking the inside surface of the inner tin.
"I decided to stand and watch, and the old man covered
one of the tins with soot . . . . and incidentally burnt his thumb,
just like I am now!"
Show sooted surface of the tin and place this down on chair
or table, as you approach a member of the audience with the
r.rntouched tin, and have lOp dropped upon this.
"The old man asked me for a coin and had me call out the
date . . . let's assume that it is the same as yours . . 1972 . .
1 and 9 is 10, and 7 is l7 plus 2 totals 19."
At this stage take up the sooted tin and place it over the
other, whereupon the flap will fall, switching the coin for you at
the same time.
"Write the numtrer nineteen in the sand at your feet, and I'll show you what we call Black Magic," he said,
I felt a fool, but did as he said, and when he lifted the tin, there was the very number written in the soot, and that's what I call Black Magic.
Here the top tin is lifted showing the number in the soot and you take your applause. Hand back the coin on the other tin, and have the date checked.
Throughout this routine, have the orchestra play "That Old Black Magic", building up to a chord as the number is displayed at the end. A
I
6ANDWICIl EAKINGTIN6 RequiredTwo matching tins as illustrated, with a flap that fits inside. In England at least, these are available ready-made at ironmongers, made by 'Skyline' kitchenware products. You need two pie tins from this range, along with one of their sandwich tins, which have a removable bottom. Discard the sandwich tin, keep the bottom and you have a perfect flap for the pie tins. In one tin, drive a small nail through the side, lll6th-in. up from the bottom on the outside. The resulting jagged hole will serve to hold the flap in place during the handling.
3 2
fiOTEDNN
BALLOON
TO RABBIT
HE busy children's entertainer who produces a rabbit, is
always looking for new ways of producing the furry friend,
for it is common in this branch of work to appear repeatedly before the same audiences. particularly if you include balloon modelling in your show, these two ways of changing a balloon into a rabbit should be of interest.
Effect
A sausage balloon is placed within an empty hutch and the
balloon burst with a pin. A live rabbit makes an instant visual appearance.
Required
The special hutch made of 6mm plywood is clearly shown in the drawing. Fig. I shows the front, with a cut out. The bars are of thin dowelling set behind this opening into strips of l2mm square wood, which also strengthen the joint between the front and the top shown in Fig. 3 and the bottom of the hutch.
The end of the hutch (Fig. 2) has a small door. The top also has a door, held closed with a simple turnbutton catch. A
clecorative handle is fixed to the centre, the door being hinged
at the front.
In Figs. 2 and 4 can be seen the fake, which holds the rabbit hidden in the top rear quarter of the hutch, hinged at the
back (X), and held up by two catches that engage in wire loops
set into the edge of the fake. When released the fake drops down releasing the rabbit, this position being shown in Fig. 4. Cover the inside of hutch and all parts of fake with black flock paper.
lVorking
Rabbit can be loaded in the car and carried in. A dragon
silk is draped over the hutch and, with a sausage balloon and a
hatpin in your lapel, all is set.
State that you will make an animal out of one balloon,
inflate the sausage ballon, rub it on your coat and stick it to the
wall or ceiling, etc. Pick up the covered hutch and set on your
table, as you announce a dragon . . . whip off the silk and show
the dragon. Take the balloon and push it in via the side door of hutch. It should extend out of the door ancl will completely
conceal the fake within, should the audience be at very close
3 4
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tluarters. Release the far catch, leaving just the one nearest to
you holding the fake. Take the hatpin, build up the suspense
runrl as one hand jabs at the balloon the other, steadying the
hutch, release the catch and the rabbit appears. Open the top
to re nrove him. Afterwards he can be replaced and left on view.
Another way of producing a similar effect is shown in the lowcr drawing, using a drawer box of a size to take your rabbit. Here a drawing pin is attached inside the outer clrawer and a nratching hole to take the point drilled in the inner clrawer. linsure that the point does not protrude into the secret
compartment holding the rabbit. The box is shown empty and
the balloon squeezed inside. Quickly opening and shutting the
tlnrwer bursts the balloon and the rabbit is there.
f,,*,
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li i- i"t 'i ii,.. " .j I I I I I I HOLE 3 5CHAPTER 5
F I N A L E P I C
|TIHE effect is the same as in the outstanding Hen Fetch
| 'Mental Epic', but with added subtleties and the avoidance
-r- of any force. Magicians have gone to great lengths to
do away with forces in many one-ahead effects, from a purely
aesthetic point of view. The main asset here is that the performer
can stay at the microphone, which is where any patter magician
must stay. Going into the audience means departure from this
central prop. Magicians of the older school like to scoff at the
importance of microphones, but any professional today knows
better. They are the most important prop we have. Effect
Using a large slate divided into six sections, the mcntalist
makes three predictions in the top sections, each in different
coloured chalk, these being covered by cards of matching colours.
A word, telephone number and card having been chosen mentally
by members of the audience, these are written in the three
sections below. On removing the cards all the predictions are
shown correct. Required
First the usual 'Mental Epic' slate from a dealer. This is
amended by removing the wooden strip between C and F in Fig. 1
and replacing it with a strip of thin wood or card, so that the
extra flap at F can pass upwarcls under it to occupy the space C.
The shacled area in Fig. 1 at the top is the standard fake that
slides from A and B to the position B and C. A tab of sellotape
is fixed to the right bottom corner of this to ease one's grip on the
slide.
A length of black cord elastic is fastened to the back of the
slate at the top of the C position; passes down the front of thc
slate under the white strip and behind the additional flap at F, at
the bottom of which it passes through a hole and is knottecl at the
front (Fig. 2). Normally the elastic should hold flap F in the C
position of the slate, but it can be pushed down to the F position
against the tension of the elastic, where it is held with a simplc
catch arrangement. This is merely a piece of bent wire or nail
in the frame of the slate, which engages in a small diagonal slot
in the bottom edge of the flap.
3 8
The Chalks
Use coloured chalks to match the covering cards supplied with the slate, usually red, blue and yellow. Using glue and sellotape binding to fasten chalk end to end, you need the lollowing: 1 red, I blue, i red/yellow and 1 blue/yellow. The
Display Stand: Whilst not essential, a stand similar to Fig' 5
assists greatly in handling and display and a small box fixed to
the back holds the set of chalks out of view. Working
To set the slate, force the extra flap down to F and hold it
in place with the catch. Slide at the top is now pushed across to
cover B and C, thus hiding the elastic on the face of the slate (Fig. a). Set out the cards on the stand as in Fig. 6 and lay the slate on top.
Take up the slate and the red chalk and write a telephone number at A, then cover this with the red card. Do not call ruttcntion to the coloured chalk, this will sink in later and confound any ideas the audience may have. Have someone suggest a phone number, and write this in red, slate towards n u c l i e n c e , a t D .
Take up the red/yellow chalk keeping the red end hidden by the fingers and apparently write a prediction at B in yellow,
actually reversing chalk to write the telephone number just given
in red. Write part of the number, pause and add the last two digits. Reverse the chalk again and place the yellow aside, take up yellow card and cover section B.
Request a second person to give a four-letter word (watch the comedy here!) and write this in yellow in E, followed by the initials of an intimate friend of a third person.
Turning now to a fourth person, throw them an invisible pack of cards and have them just think of one. Take up the yellow/blue chalk to apparently write in blue, but in yellow repeat the word and initials at C. Take up the blue card and in
positioning this, move the slide across by means of the tab to
positions A and B.
Finally, have the card named and in writing this at F a little subtlety is used. Pick up the yellow/blue chalk and state that you will write this in yellow, showing that end of the chalk,
reverse it behind slate to write the card in blue, back of slate
torvards the audience . realise that you have used the wrong
colour and with your fingers apparently rub it out, but in fact let
the extra flap fly up to C, fingers ensuring that it does so silently.
Reach for the blue chalk and write the card again, slate facing a u d i e n c e .
All is now set for the climax, with the usual recaps and
build up, before removing the cards one at a time for three well
earned rounds of applause.
CLIMAX NEWSPAPER
TEST
fl-HERE have been many newspaper tests in the past, many
I are long-winded and others require calculation or reliance
-a on memory. Wrat follows is a trouble-free and
self-contained version and whilst the climax may upset the purists
who vow that one should not mix magic with mentalism, it makes
a good finale to any act. Effect
A sealed envelope js handed to a spectator as he returns to
his seat after helping in a previous effect. The performer takes
40
cp,EaqFsre
A€SISTTEARING
DUPLICATE PAPTP.
trOLDEDDUPUATF
and cleanly shows a newspaper, two full sheets in fact, tabloid
size and tears it into 32 pieces. Pieces are dealt from the pile
one at a time on to a table or piano, and the spectator invited to
call stop anywhere. The piece at which he calls stop is handed
over to him. He reads the headlines etc., from the paper aloud,
both sides, then opens the envelope and reads the prediction,
which matches. Left with a pile of pieces, the performer instantly
lcstores these into ihe complete newspaper, leafs through it ancl
pcers through a hole in the back sheet, apparently there because
of the spectator's piece, as he bids the audience farewell.
Required
A dozen duplicate copies of the Evening NeD,s or similar tabloid paper will set you up for many shows. Keep the outside two pages or sheets (8 pages) of each paper aside. From the
inside sheets select a piece size 6-ins. x 4-ins. (150 mm x 100 mm)
on which suitable bylines are printed, and carefully tear 12
rluplicates of this.
- : I
T'his pile of 12 pieces is then placecl within a pocket glued
on to page 2 of the newspaper as illustrated, the pocket made
from a matching piece of paper size at least 10-ins. x 8-ins. (250
x 200 mm). Place a second full sheet inside to complete your
paper for use.
Prepare a second newspaper as described in "Tearing Up
The News", except that in this case the odd piece shown at 'X' is
stuck oh as shown, instead of the larger piece 'X' shown in the
previous trick. Fold this duplicate paper to a size approx. 6-ins.
x 4-ins. (150 x 100 mm) and have this in a clip or Topit Pocket under the left side of your jacket. Note that a piece has been
torn from the back sheet of the duplicate paper as illustrated.
On your lreaded notepaper, print with a felt pen your prediction
and seal this in an envelope. Working
Hand the sealed envelope to your helper as he leaves for
his seat at the end of the previous effect, askin-e him to keep it
in his pocket until later. Take up the newspaper and display both
sheets clearly both sides, one in each hand, left hand over pocket,
then place back together again. Tear sheets in half, placing
tlrose in your right hand over the pocket. Continue tearing a
further three times, but in each case the pieces in your right hand
are placed behind the pocket package. With the 32 pieces in
your left hand, the pocket will be third piece down. Explain
that you wish your helper to call stop anywhere, as you commence
dealing from the top on to the table or piano. When you reach
the pocket, tear off this bit if necessary and continue now
through the 12 duplicate pieces. With comments like: "Say stop
anywhere . . . tonight!" and "This could be a long act!" you will
encourage him to stop during your duplicates. You can give him
a choice of this one, the last one or the next one, etc. If, as
rarely happens, you get through the duplicates before he calls,
hold back the last one and continue a sort of second deal. easy
enough with a ragged pile of newspaper bits, but it will probably
n e v e r b e n e c e s s a r y .
When the selected piece is reached, hand it to the man with
the envelope. In turning back to your working area, your right hancl slips unrler left side of jacket and loads on the duplicatc 42
newspaper. Have the headlines or print read out from thc paper
and tlre prediction then read for the apparent finish of your feat.
Meanwhile you have gathered up the tlealt-off pieces on to the
pile in your hands.
After the applause say, "That leaves me with this pile of
pieces" and you show them back and front, the masking piece
'X' disguising the duplicate. "I'm off to catch up on the rest of
the news,
-eood night!" accompanies the flash restoration as in
"Tearing Up The News". You leaf through the paper, peer
through the hole in the back page, point to your helper to indicate
that the hole is where his bit should be and stagger off to your
ovation.
C A B A R E T
R A B B I T
V A N I S H
INCE my earliest clays in magic, it has always been my practice to climax my children's shows with tlre production of a live rabbit. It pulls in the shows like nothing else can and I am clear to pack away the show while the children pet the little fellow. In cabaret, to produce a rabbit gets the oohs and aahs, but rarely the applause that is required to get olT' so wc have to vanish him in some way and this was the problem I set myself. A breakaway sensational vanish, with an audience on thrce if not four sides. In addition I wanted to use a fully grown rabbit, not a baby, and as one's assistant cannot rush off under these conditions, once vanishcd our little friend has to be comfortable for some rvhile.
Bffect
A live rabbit is placed in a paper-covered box on a table' The box is dismantled, the lid and sides all being shown both sides before being smashed over the arms, and similarly the bottom of the box. That leaves a narrow frame on the table' from which a flash of white projects, but this proves to be a white silk, and the frame is shown around. The flat sides ale piled on the table, but now a piece of fur falls into view below tlrc front of the table, but this proves to be just a bit of fluff!
