202432342 Tom Sellers Immediate Magic PDF

T H E M A G I C W A N D S E R I E S

r . O N D O N :

CONTENTS

PAGE A Ha n d k e r c h ie f Va n i s h ... 2 Kn o t Mo n t e... 2 A Pe n c il Pe n e t r a t io n ... 4 A Bil l ia r d Ba l l Pe n e t r a t io n ... 4 A “ Ca t c h ” Ha n d k e r c h ie f Ef f e c t ... 5 A Sl a t e Id e a... 6 On e Ha n d Th i m b l e Pr o d u c t i o n... 6 My s t ic Ca n d l e Li g h t i n g... 8 M a t c h B o x a n d P e n c i l ... ... 8 Ma t c h Di v i n a t i o n... 9 Th e Se l e c t e d Ba n d Ju m p s... 9 Rin g a n d Ro p e Id e a s N o . 1 ... 10 Rin g a n d Ro p e Id e a s N o . 2 ... 12 Rin g a n d Ro p e Id e a s No. 3 ... 12 Rod a n d St r in g s ... 13 Ma g ic Ma g n if ic a t io n ... 14 Cu t a n d Re s t o r e d Ri b b o n... 14 Cig a r e t t e Mo n t e ... 16 Ne w Ris in g Ma t c h... 17 Th e Na m e Sp e l l e r... 17 Hy p n o t ic Ta p e ... 18

Made and printed in Great Britain by Ge o. B. Fl o w e r & So n s Lt d.

15-16 Verulam Street L o n d o n , E.C.l

The State Library of Victoria

“A LM A CONJURING COLLEC TIO N ”

I M M E D I A T E M A G I C

B Y

TOM S E L L E R S

A u th o r o f " T ricks th a t W o r k ” “Sellers' S e c r e t s e t c .

W I L L ALMA ___

M.I.M.C. (LONDO N)

A HANDKERCHIEF VANISH

Effect.

T h e perfo rm er places a silk inside a paper bag. T h e bag is to rn u p ; the handkerchief has vanished.

Requirements.

A glass (tube shaped), w ith a m irro r p a rtitio n . A paper bag, m ade from a sheet of paper. T w o inches from the top of the bag cut, w ith a raz o r blade, a slit h alf w ay round the bag. A silk handkerchief is the final item.

Method.

T h e bag is standing inside the glass to sta rt w ith — ju st p u t the bag in loosely so th a t it does not open the slit. P ick up the bag and show it em pty, replace in the glass, pushing th e bag dow n u n til the p a rt above the slit overlaps the p artitio n in the glass (see F ig. 1). N o w take the silk and th ro w it over the top of the bag. T a k e your wrand and ap parently push the silk into th e bag, actually push the handkerchief th ro u g h the slit in the bag (which is p rojecting over the m irro r partitio n ), and dow n a t the back of the p artition. Rem ove the bag, fold dow n the top, m ake a pass over it, te ar up and show th a t the silk has vanished.

KNOT MONTE

Effect.

A fte r looping a piece of strin g round the thum b and forefinger of th e le ft han d , the ends then being held by the thum b and forefinger of either hand, you ask a spectator if there is a knot on the string. W h a te v e r he replies, on th e ends of the strin g being pulled the spectator is proved to be w rong. T h is m ay be repeated, b u t the spectator can never guess correctly.

Requirements.

A piece of strin g about a foot long.

Method.

Loop the strin g round the th u m b and forefinger of the le ft hand as shown in the illu stratio n (Fig. 2). N otice th a t end “ A ” p ro tru d es from the thum b and finger about one inch. G rip this end w ith second and th ird finger tips. T a k e end “ B ” betw een the thum b and forefinger of the rig h t hand. N o w ask th e spectator if there is a k n o t on the string. If he says, “ Y es,” release the second and th ird fingers on end “ A , ” allow the loop “ X ” to slip over the

on the string. I f the spectator says th a t there is no knot on

the string, sim ply release the th u m b and forefinger, p u ll the end “ A ” w ith the second and th ird fingers and a knot w ill appear.

A PENCIL PENETRATION

Effect.

T h e perfo rm er places a pencil in the centre of a h a n d k e rc h ie f; holding the covered pencil betw een the finger and th u m b of of his le ft hand, the handkerchief is show n on all sides. W ith his rig h t hand the perfo rm er app aren tly pushes th e pencil rig h t th ro u g h the handkerchief. T h e handkerchief an d the pencil are im m ediately passed fo r inspection,

Requirements.

A handkerchief and a pencil.

Method.

W ith the finger and thum b of th e le ft hand grip the centre of a handkerchief, le ttin g th e folds h ang dow n as show n in F ig. 3. N o w take th e pencil in your rig h t hand and app aren tly push it into the centre of the han d k er­ chief, from undern eath : w h a t really happens is th a t you place it betw een th e folds behind the handkerchief. Y o u w ill find th a t the folds com pletely hide th e pencil and h an d k e r­ chief m ay be shown on all sides. W ith the rig h t hand push pencil thro u g h , and between, the forefinger and thum b, w hen pencil is com pletely through, shake out handkerchief and pass fo r exam ination.

A BILLIARD BALL PENETRATION

Effect.

T h e perfo rm er drapes a silk handkerchief over a candlestick. U n d e r this silk he places a billiard ball. A la rg e r handkerchief is now placed over the silk covering the ball. W h e n the large handkerchief is rem oved, th e billiard ball is seen to be on top of the silk w hich previously covered it, having app aren tly pen etrated rig h t through.

Requirements.

A candlestick, tw o silk handkerchiefs of like hue, b u t one tw elve inches square, the o th e r thirteen inches square, a billiard ball, a large, d ark coloured h an d k e r­ chief.

Preparation.

P lace the tw elve inch silk behind the th irte en inch silk.

Method.

Show th e candlestick, pick up the tw o silks as one and th ro w them over th e candlestick, the sm aller silk being on the u n d er side. P ick up the candlestick and show on all sides. N o w pick up the billiard ball and place it u n d er the top silk only, p erfo rm in g this action from the rea r (see F ig. 4). A gain show on all sides. N o w cover all w ith the large handkerchief, m ake the m agic spell and rem ove the large handkerchief, carry in g the top silk w ith it. T h ro w the larg e handkerchief aside, and show th a t the ball has passed th ro u g h the silk on the candlestick.

A “ CATCH ” HANDKERCHIEF EFFECT

E ffect.

T h e p erfo rm er places a red, a blue, and a w hite h andkerchief inside a tube. H e now tells the spectators th a t he w ill cause th e w h ite handkerchief to leave the tube and pass into his pocket. A t this ju n c tu re he w ith d ra w s a w h ite silk fro m his pocket and lays it on the table. H e removes the red and blue silk from th e tu b e and shows it to be em pty b u t p a r t of a w h ite handkerchief is seen betw een the red and the blue. “ P erhaps you th in k this is the w h ite h andkerchief,” rem ark s th e perfo rm er. “ W e ll, I ’ll le t th e silk speak for itself,” and as he shakes it o u t it is seen to bear this : “ N o, N o , a 1,000 tim es N o ! ”

Requirements.

A ghost tube, a w h ite silk, w ith “ N o, N o , a 1,000 tim es N o ! ” p rin te d thereon. A double blue silk, open a t one corner, this silk fo rm in g a bag, as is usual in the p o p u la r m ethod of the 2 0 th cen tu ry handkerchief trick. A red silk and a w h ite silk. P lace the p rin te d w h ite silk inside the blue bag and leave a sm all corner sticking out, place a duplicate w h ite silk in the pocket.

Method.

Show th e ghost tu b e “ em pty,” and stand on th e table. P lace th e blue silk in the tube first, h id in g the w h ite corner as you do so, now place th e red, in th e tube, these tw o going in to the tube proper, and n o t betw een in n e r and o u te r p artitio n . T a k e the w h ite handkerchief, place it in th e tube, b u t see th a t it goes betw een th e o u te r and inner tube (see F ig. 5). S tate th a t you w ill m ake the w h ite silk vanish. W ith d r a w the “ p lan ted ” w h ite silk from your pocket, rem ove the red and blue from th e tu b e and show the

tube to be em pty. W ith d r a w the w h ite silk from the blue bag and show it w ith the w o rd in g thereon.

A SLATE IDEA

Effect.

A slate is show n on both sides; it is then covered w ith a handkerchief o r foulard. W h e n the slate is uncovered a message, num ber o r any desired w ritin g is seen to be w ritte n on both sides of the slate. A lthough the slate

is a trick one, there are no loose flaps to dispose of.

Requirements.

G e t tw o pieces of cardboard about seven inches by five inches. G lu e strips of cardboard round the edge of these pieces, the strips representing and giving th e impression of fram es. W h e n th e inside portions are painted black they w ill appear as slates. (Briefly, you m ake tw o cardboard slates.) T h ese slates are now fitted w ith a cloth hinge a t the side (see F ig. 6). T h e slates can now be closed like a book o r screen, th a t is in any direction.

Preparation.

O p en the slates, and w rite o u t w h a t you desire on both. N o w close th e slates, thus brin g in g the w ritin g to th e inside.

Method.

Show the “ slate ” blank on both sides. T h ro w

a la rg e handkerchief o r fo u lard over yo u r forearm , and w hile placing th e slate u n d e r the foulard, allow one slate to fa ll rig h t dow n and over, thus bringing th e opposite sides to th e outside. A ll th a t rem ains is to rem ove the fo u lard and show the w ritin g .

ONE HAND THIMBLE PRODUCTION

Effect.

A fte r the p erfo rm er has shown both hands to be em pty, his rig h t hand is held back to w ard s th e spectators. A t w ords of com m and thim bles appear, one a t a tim e, on the fingers of the p erfo rm er’s rig h t hand.

Requirements.

A strip of tin, a sm all piece a t one end being bent a t r 'g h t angles. T h is strip has fo u r elastic loops fixed in it, sim ilar to the usual thim ble holder. F o u r thim bles are placed in the loop (see “ A ,” F ig. 7).

Method.

G rip the bent portion of the fake between the thum b and fingers of th e rig h t hand, allow ing the thim bles to lie against the palm of th e hand, as show n a t “ B .” Show

the left hand to be em pty, and w ith any of the w ell know n change over moves tra n sfe r the fake to the le ft h and and show right, em pty. C hange over (back again) into th e rig h t hand, and, still keeping this hand back tow ards the spectators, extend th e arm o u t from th e shoulder. N o w e x tra c t one thim ble a t a tim e from the holder, causing each thim ble to m ysteriously appear on the fingers. Y ou w ill find th a t the fake, being th u m b clipped, is held quite firm ly.

MYSTIC CANDLE LIGHTING

Effect.

Show ing his hands to be em pty, th e p erfo rm er places them ro u n d the w ick of a ca n d le ; w hen rem oved, the candle is seen to be lit.

Requirements.

A sm all tube, closed a t one end, this tube is about one and a h alf inches long. N e a r one end a sm all hole is bored, fo r air. Inside th e tu b e a sm all piece of a toy fairy candle is placed. O u tsid e th e tube tw o spikes are soldered. O v e r th e spikes a strip of asbestos is placed. T h is tube is fixed to a larg e candle, a t the rear, by sticking spikes into the candle (see F ig. 8). T h e sm all candle is n ow lit.

Method.

Show hands em pty, cup your hands and place them round th e w ick of th e larg e candle. W ith th e th u m b press on w ick till it overlaps the edge of the candle, and allow ignition to take place via th e sm all candle in th e tube. P ress the w ick u p rig h t again and rem ove the hands, show ing the candle to be lit.

MATCH BOX AND PENCIL

Effect.

T h e perfo rm er shows a m atch box w ith a hole ru n n in g th ro u g h from fro n t to back. A pencil is placed th ro u g h the hole and each end of th e pencil given to a spectator to hold. T h e box is now covered w ith a large handkerchief. U n d e r cover of the handkerchief th e perfo rm er removes the d ra w e r of th e box, leaving the cover still im paled on the pencil.

Requirements.

A m atch box w ith a hole ru n n in g th ro u g h the cover and the draw er. T w o fake ends, these fit tig h tly into each end of the cover.

Preparation.

Rem ove the d ra w e r and conceal in th e le ft sleeve. P lace a dum m y end on each end of the cover (see F ig. 9).

Method.

B o rro w a pencil and ru n it th ro u g h the hole

in

th e box, as show n in F ig. 9. G e t a spectator to hold each end of the p en c il; then cover w ith a la rg e handkerchief. U n d e r cover of the handkerchief, rem ove th e tw o dum m y ends, and rem ove th e d ra w e r from the le ft sleeve. C onceal th e end pieces in your hand, rem ove the handkerchief, show th e d raw er, and th e cover still on th e pencil. I f desired a few m atches m ay be placed in the cover a t the sta rt, they can be exhibited in the hand, a t the end, to g eth er w ith the d ra w e r.

MATCH DIVINATION

Effect.

T h e p erfo rm er hands a spectator fo u r m atches w ith different coloured heads. A spectator is asked to m ix th e m atches and place them in th e p erfo rm er’s hands, w hich he holds behind his back. H e now brings in to view one m atch a t a tim e, n am ing the colour before he does so.

Requirements.

E ig h t m atches, tw o of each colour you intend using. T w o ru b b er bands.

Preparation.

P lace a ru b b er band over each fo rearm u n d er th e sh irt sleeve. U n d e r the band on th e le ft forearm , place fo u r of th e m atches in an o rd er w hich m u st be m em orised. T h e m atches should be a rran g e d in “ steps ” so th a t they m ay be rem oved quickly and easily (see F ig. 10).

Method.

Pass the fo u r rem aining m atches fo r exam ina­ tion and have them m ixed. Receive th e m atches in yo u r h a n d s; behind yo u r back. T h is done, place these fo u r m atches u n d er the band on yo u r rig h t forearm . N o w proceed to nam e th e colours, w ith d ra w in g each colour from u n d e r the band w hich is on th e le ft forearm . T h is is easy as th e m atches are arran g e d in a know n order.

THE SELECTED BAND JUMPS

T h e average m agician is fam iliar w ith th e little ru b b er band trick, w h erein a ru b b er band jum ps from the first and second fingers to the th ird and fo u rth . I t may, how ever, be briefly explained fo r the benefit of those w ho do n o t know th e trick.

P lace a sm all rubber band round the first and second fingers, a t th e base of the fingers. N ow , w ith the th u m b and finger o f th e o th e r hand stretch th f band once o r tw ice for effect. D u rin g this stretching process close the fist and unobserved get all the first jo in ts of the fingers u n d e r th e p a rt of the band m arked “ X ” (F ig . 1 1 ) . H o ld this position for a few

seconds, then open the hand o u t flat, this w ill cause the band to fly over to the th ird and fo u rth fingers. In itself a very p re tty little trick b ut, I m ay add, I did n o t invent it. T h e tric k I am about to describe depends on th e foregoing move. O b ta in th ree little ru b b er bands, red, green and y e llo w ; place them ro u n d the first and second fingers of the le ft hand. N ow , w ith the rig h t fingers, pick up each band separately, one on the first finger, one on th e second finger and one on th e th ird . I t w ill be seen, vid e F ig. 11, th a t any tw o bands

can be released, independently of the one rem aining. N ow proceed to stretch the bands, and w hile doing so ask for any colour to be selected. Im m ediately this is done, release the rem aining tw o colours back on to the first and second fingers, an d as you close the fist, get the first joints of all fo u r fingers u n d er th e selected band. T u r n th e fist back u p w ards and show all three bands on the first and second fingers. Ask th e spectator to count, one, tw o, three. W h e n he does so, open hand o u t flat and the selected band w ill fly over to the th ird and fo u rth fingers.

RING AND ROPE IDEAS

No. 1

F o r the first effect pass a la rg e rin g and a piece of rope fo r inspection. Y ou now have your w rists tied to each end of th e rope. T a k in g the ring, retire behind a screen fo r a few seconds. W h e n you re tu rn you are seen to have your coat off and the rin g is on the rope.

Requirements.

T w o large rings and tw o long pieces of rope.

Preparation.

T a k e off your coat, thread one rin g on to the rope and tie th e ends to your w rists. N o w slip on yo u r coat again, so th a t th e rin g lies across your back (see diagram N o. 1, F ig. 12). See th a t yo u r coat sleeves hide the tied ends of the rope.

s p e c t a t o r h o l d s t h i s e n d.

Method.

Pass the rope and duplicate ring fo r inspection. H av e your w rists tied. N o w take the rin g and retire behind screen. P ush duplicate rin g below your vest, take a p air of scissors from your pocket and cu t off the rope w hich th e spectator tied to your w rists. R oll this rope round the scissors and place in a pocket. T a k e off your coat, step over th e rope and come into view again. A sk someone to cu t the rope from yo u r w rists, slip your coat on and continue the show.

RING AND ROPE IDEAS

No. 2

In this effect one end of the rope is tied to your ankle and the o th e r end to one of your w rists. Y ou re tire behind th e screen as before for a few seconds, and w hen you re tu rn the rin g is seen to be on the rope.

Requirements.

T w o rings about seven inches in diam eter and a piece of rope.

Preparation.

A tta ch one of th e rings to a long loop o f thread, slip your foot th rough th e rin g and push it up u n d e r your tro u ser leg. A tta ch the o th e r end of th e loop of th e th rea d to a tro u ser b u tto n . T h is loop keeps the rin g sus­ pended on the leg (see diagram 2, F ig. 12).

Method.

Pass the rope and rin g fo r inspection. H a v e one end of rope tied to your w rist and the o th e r end to yo u r ankle. R e tire behind the screen. P u sh the exam ined rin g up u n d er your vest. N o w reach up u n d e r yo u r tro u ser leg and p u ll the o th e r rin g u n til th e th rea d breaks. D ra w the rin g dow n over yo u r foot and on to the rope. M a k e y o u r appearance and show rin g on the rope.

RING AND ROPE IDEAS

No. 3

In this m ethod one end of th e rope is tied to your w rist and the o th e r end is given to a spectator, yet you m anage to pass a six inch rin g on to the rope.

Requirements.

T w o rings and a piece of rope ab o u t tw elve feet long.

Preparation.

Rem ove your coat and slip one of th e rings on to your rig h t arm and push it rig h t up till it rests on your shoulder. N o w p u t your coat cn again, this w ill hid e the rin g on your shoulder (see diagram N o. 3, F ig. 12).

Method.

Show the rope and th e duplicate ring. H a v e y o u r rig h t w rist securely tied to one end of the rope. N ow give th e o th e r end to a spectator, take th e rin g and re tire behind screen. P u sh this rin g up y o u r vest. T o get the duplicate rin g on the rope proceed as follow s. Rem ove yo u r le ft a rm from the jacket, w h ile this is hang in g from th e rig h t arm , d ra w yo u r w hole ja c k e t th ro u g h the rin g w hich is on yo u r arm , slide th e rin g on to the rope. N o w come into view again.

ROD AND STRINGS

T h is idea is n o t subm itted as being m ore clever than the original rod and beads, w hich w as the jo in t invention of C h u n g L in g Soo and C h ris V an B ern. In th a t m ethod a very clever principle is used, the only disadvantage being th a t the strings w ere very short. I n m y m ethod the principle is different and the strin g s are from nine to tw elve inches long.

T o m ake this appliance, obtain a piece of tube about tw elve inches long and th ree q u arte rs of an inch in diam eter, an inch from eith er end d rill tw o holes opposite each o th e r (Fig. 13). N o w obtain tw o sm all rings and join them to g eth er w ith a piece of strin g an inch in len g th (see “ A ” ). A piece of strin g abo u t nine inches long is now threaded th ro u g h each ring. T h e tw o rings and the strings are then placed inside th e tube, the ends of the long strings being th read ed th ro u g h the holes in the tube. A sm all and a large bead is attached to each end of the long strin g s to prev en t them passing th ro u g h th e holes a t th e end of the tube.

N o w if end “ B ” is pulled, “ E ” rises. I f “ E ” is now pulled, “ B ” rises. I f * “ D ” is pulled, “ E ” rises, yet if

“ C ” is now pulled, “ D ” rises. A tube m ade up as explained and the ends sealed up, m ay be h andled freely by th e spectators w ith o u t affording any clue to the m ystery. I have had a lo t of fu n w ith this trick, having m ade it from an old bicycle pum p.

MAGIC MAGNIFICATION

Effect.

T h e p erfo rm er exhibits a fram e. W ith in is a d raw in g of a sm all question m ark. A large m agnifying glass is now introduced. T h is is held in fro n t of the sm all question m ark, and of course the audience see it m uch la rg e r th rough th e glass. B u t here is som ething to create m ore interest. W h e n the p erform er removes the glass, the question m a rk is seen to be the same size as it w as through the glass. In other w ords the m a rk w as m agnified and so rem ained.

Requirements.

A larg e im itation m agnifying glass, about six inches in diam eter, com plete w ith handle. T h is is ju s t an o rd in a ry piece of w in d o w glass m ounted to represent a m agnifying glass. A fram e w ith a spring ro lle r blind (black), and a sm all w h ite question m a rk painted on the centre. In th e fram e p roper place a piece of black cardboard w ith a larg e question m a rk painted thereon.

Preparation.

D ra w the spring blind dow n in fro n t of the cardboard w ith th e la rg e question m ark. P lace the m agnifying glass in f ro n t of the fram e, w hich w ill be sta n d in g on yo u r table.

Method.

P ick up the glass and d ra w a tten tio n to the sm all question m a rk in the fram e. A t the same tim e th a t you b rin g the glass in fro n t of the sm all m ark, secretly release th e blind. T h e effect to the spectators w ill be th a t they see the m a rk ap parently magnified th ro u g h the glass. Y ou now lay dow n the glass, rem ove the cardboard from the fram e and pass the card fo r exam ination.

CUT AND RESTORED RIBBON

Effect. A

piece of new spaper m easuring about eight inches square is exhibited. T w o slits are m ade in the paper, on the low er half.

A

piece of ribbon is threaded th rough th e slits, as show n in F ig. 14. T h is is now cut th ro u g h the centre, th e paper folded over a t the centre, and the ribbon w ith d ra w n restored. T h e paper is opened and th ro w n aside.

Requirements.

A piece of new spaper 8 inches square. A flap is gum m ed to th e centre of this piece, th e size being eight by fo u r inches. In o th e r w ords th e paper is m ade sim ilar to the usual flap banner. O n th e flap, gum a sh o rt piece of ribbon and close the flap. I f this is exhibited it w ill appear ju s t a square piece of new spaper (see F ig. 14).

Method.

Show th e paper and m ake tw o slits on the bottom half. R u n the ribbon th ro u g h th e slits as shown. N o w fold the paper a t “ X , ” and d ra w th e ribbon to and fro. A p p aren tly open th e p ap e t again, b u t actu ally only the first layer. As this exposes th e dum m y piece no trick ery is suspected. C u t the dum m y piece th ro u g h th e centre, fold the paper again, w ith d ra w the ribbon restored. T h is tim e open the tw o top layers and show the paper to be em pty.

CIGARETTE MONTE

Effect.

T h e p erfo rm er introduces a sm all stand w ith th ree holes on the top. T h e holes are fo r the accom m odation o f th ree cigarettes, one of w hich has a cork tip, the other tw o being plain. T h e perfo rm er show s the three cigarettes an d places the one w ith th e cork tip in the centre hole, the plain cigarettes being placed one a t each side of the one w ith cork tip. T h e m agician now changes the position of th e tw o end cigarettes and asks a spectator to guess w hich hole contains the cigarette w ith cork tip. As th e p erfo rm er has not touched the cork tipped cigarette, the spectator n a tu ra lly nam es hole n u m b er tw o, b u t w hen this cigarette is removed it is seen to be plain, the cork tipped one being in one of the end holes. V arious o ther moves can be evolved on the lines o f the three card trick.

Requirements.

A n oblong block of w ood m ounted on a w ooden base. T h re e holes are bored into the top of the block, the holes being h alf an inch deep and of such diam eter to com fortably hold a cig arette (see F ig. 15). Y o u w ill also require three cigarettes, one is plain and unprepared, the o th e r tw o have h a lf a cork tip stuck on one end. A cigarette

prepared in this m anner, show n a t “ A ,” w ill, if held w ith

the cork tip facing the spectators, appear to be an ord in ary cork-tipped cigarette, b u t if given a half tu rn w ill appear to be plain. T h e w hole trick depends on this principle.

Method.

Show th e th ree cigarettes, holding them in such a m an n er th a t one appears w ith a cork tip and th e other tw o plain. P lace the cork tipped cigarette in hole num ber tw o, the tip of course going in to the hole : before rem oving y o u r fingers from cigarette give it a h alf tu rn . N o w take th e n ex t prepared cigarette and place it into hole nu m b er one

an d place th e la st un p rep ared cigarette into hole num ber three. C hange position of cigarettes one and three, b u t before rem oving the fingers from cigarette num ber one, give it a h alf tu rn . N o w ask a spectator to nam e the num ber of th e hole co ntaining the cork tipped cigarette. W h e n given n u m b er “ tw o ,” rem ove this cigarette and show it to be plain. Replace, and show th e cigarette in hole num ber three to have cork tip. M a n y o th e r moves w ill soon suggest them selves, b u t th ree o r fo u r should be sufficient. T h e re seems to me to be possibilities here for a stage tric k by m aking use of g ia n t cigarettes.

NEW RISING MATCH

E ffect.

T h e p erfo rm er holds tw o m atches betw een his finger and thum b. A t com m and, one of the m atches is seen to slow ly rise to a perp en d icu lar position.

Requirements.

T w o m atches joined end to end w ith a sm all piece of bicycle valve tu b in g ; a piece about three eighths of an inch long is sufficient (see F ig. 16).

Method.

H o ld the m atches betw een th e forefinger and th u m b , as show n in diagram 2, F ig. 16. G e n tly release the pressure on the m atch m arked “ A ” and it w ill slow ly rise to th e position show n in diagram 3. T h is produces a really u n canny effect.

THE NAME SPELLER

Effect.

T h e p erfo rm er gives a spectator nine sm all c a r d s ; th e spectator is asked to shuffle the cards and th in k of one o f them . T h e p erfo rm er now takes the cards and deals th e m o u t tw ice, face upw ards. T h e cards are now gathered up, the p erfo rm er nam es th e card and then spells it o u t fro m the top of th e pack, th e m en tally selected card being tu rn ed over a t the last le tte r of th e nam e.

Requirements.

N in e sm all cards w ith names thereon, as show n in the illu stratio n .

Method.

H a n d -the cards to be shuffled. N o w have one m e n tally selected. T a k e the cards and deal the first th re e cards face up in one heap, the n ex t three in an o th er heap, an d th e last three in one m ore heap. A sk in w hich heap th e spectator’s card has fallen, and place this heap betw een th e o th e r tw o. N o w deal o u t again, face up, b u t this tim e

deal one card a t a tim e, the first card going on the first heap, the second card on second heap, and so on. A gain ask w hich heap the card is in ; the card th o u g h t of w ill be th e m iddle card of this heap. M e n ta lly note this card and g ath er the cards up as before, the chosen heap going between th e o th e r tw o. N o w nam e th e selected card and then proceed to spell it o u t from the top of the pack. T h e chosen card w ill show up a t the la st le tte r of the nam e. O f course any nam es m ay

be used provided each consists of five letters.

A L I C E D A V I D M O L L Y

P E R C Y D A I S Y H A R R Y

A G N E S J A M E S B U N T Y

HYPNOTIC TAPE

T h e perfo rm er is seen to be holding a piece of tape, it hangs lim ply. H e then takes an end in each hand, then removes one hand. T h e tape does n o t fall, b u t rem ains in a h o rizo n tal position, one end only being held in th e hand. A t com m and, the tape becomes lim p again and drops. T h e p erfo rm er now holds th e tape in a perp en d icu lar position, by one end only. T h e tape becomes rigid and is again bro u g h t to a h o rizo n tal position, one end only being retained in th e hand. T a p e is again show n to be lim p and laid aside.

Requirements.

T w o fo u r inch lengths of th in cane, and several sm all lengths about half-an-inch long. C ane is used because it is lig h t in w eig h t and has a hole ru n n in g th ro u g h it, b u t any o ther lig h t m aterial should w o rk ju s t as w ell. T o proceed : these pieces are threaded on to a piece of soft strin g as show n in the diagram . T h e strin g should be

about tw o inches longer than the com bined tubes. P lace a k n o t a t one end of the string, to keep it from com ing th ro u g h the tubes, and a boot b u tto n a t the other. N ow place this appliance inside a double piece of tape : this should be fairly w ide so th a t the shape of the tube cannot be seen. Sew th e k n o t to one end of th e tape and the boot b u tto n to the other. Sew up the ends of the tape and you are ready to show the tric k (see F ig. 17).

Ex p o s e d v i£uj s m q u i n c-ia r r a n g e m e n t q f c a n s

AND CORD INSIDE DOUBLE TAPE,

E N D " A "

f i g. 17:

---To Work.

I f the tape is held a t end

“ A,”

F ig.

17,

it m ay be sw ung about in any direction. I f held a t the centre, it w ill h an g lim p over the hand. I f the b u tto n is held tig h tly betw een the second and th ird fingers and the end of the tube, “ X , ” be pressed fo rw a rd in the direction of the arro w , “ B ,” the tape w ill become rigid. S w ing the tape about, take an end in each hand, grip the b u tto n and press fo rw ard w ith first finger and thum b, take the o th e r hand aw ay and the tape rem ains rigid in a h o rizo n tal position. H o ld thus for a few seconds, and then w ith the o th e r h and take the tape a t the centre, let go th e b u tto n end and the tape w ill drop lim p. N o w sw ing th e tape about again, hold in one hand, in a p erpendicular position, the tape hang in g dow n from , say, the rig h t hand. G rip the b u tto n and press the tube fo rw ard . A s soon as you feel it ta u t, raise to a h o rizo n tal position, hold thus for a few seconds, then seize the tape by the centre and show it to be lim p again. P lace the m ysterious tape aside and proceed w ith the n ex t item in th e en tertain m en t.

CONJURING BOOKLETS BY TOM SELLERS

A n inventive m agician of high repute, M r . T o m S e l l e r s is an acknow ledged m aster of lucid instruction. Showm anship, p a tte r and persiflage he leaves to the exponent. H e describes, in brief u nderstandable term s, m agical effects th a t are suitable for all occasions. T h e booklets have w on great repute and are in constant dem and by practical magicians.

Tr ic k s t h a t W o r k. Se l l e r’s Se c r e t s. Qu ic k Tr i c k s. 21 Ne w Card Tr i c k s. Card t r ic k st h a t w o r k. More Se c r e t s. Ma g ic a l Pl e a s a n t r ie s. No v e l Ne c r o m a n c y. C r. 8vo. Copiously illu strated . 2 /6 d . By post 2 /7 ^ d .

In pure sleight of hand, few can excel M r . E . B r i a n M a c C a r t h y . A ll interested in m anipulative w o rk should obtain :

M o d e r n S l e i g h t s . and S l o w S l e i g h t s . C r. 8vo. W e ll illu strate d by the au th o r. 2 /6 d . B y p o s t 2 / 7 |d .

OTHER USEFUL HANDBOOKS

J a r d i n e E l l i s S e c r e t s . C o n j u r i n g f o r C o n n o i s s e u r s . A r t i n t e n m i n u t e s . T h e L i g h t n i n g S k e t c h e r .

D em y 16mo. Illu stra te d . 1 /-. B y p o s t l / l | d .

By S. H . S h a r p e , A u th o r of N e o M a g ic.

Conjured Up

(T ricks, Illusions, P a tte r and T h eo ry ).

Good Conjuring

(a sequel to the above).

D em y 8vo. Illu stra te d . 2 /6 d . By post 2 / 7 |d . P ric e in the U .S .A . fo r the above publication 75 cents.

T h e M a g ic W a n d Office, 24 B uckingham Street, Strand, London, W .C .2 a / u r

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Books on Conjuring & Entertaining

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G E O R G E J O H N S O N

Publisher and M ag ica l Bookseller .

T H E “ M A G IC W A N D ” O F F IC E