T H E M A G I C W A N D SERIES

By TOM SE L L E R S

LONDON:
G E O R G E J O H N S O N , 24 B uckingham S tre e t, S tra n d , W
 CONJURING BOOKLETS BY TOM SELLERS
A n inventive magician of high repute, M r. T om S e l l e r s
is an acknowledged master of lucid instruction. Showmanship,
patter and persiflage he leaves to the exponent. H e describes,
in brief understandable terms, magical effects that are suitable
for all occasions. T h e booklets have won great repute and
are in constant demand by practical magicians.
T r ic k s t h a t W ork. C ard t r ic k s t h a t w o r k .

S e l l e r ’s S e c r e t s . M ore Secrets.
Q u ic k T r ic k s . M a g ic a l P l e a s a n t r ie s .

21 N ew C ard T r ic k s . N ovel N ecrom ancy.

I m m e d ia t e M a g ic .
Cr. V 7id.

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A r ilS S E U R S .

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— W IL L ALMA 7 |d .
M.I.M.C. fLONDON)
Pr : cents.

T h e M agic W an d Office, 24 Buckingham Street, Strand7London, W .C.2

 M A G IC H IT S
BY

TOM SE L L E R S

LONDON:
G e o rg e Jo h n so n , T h e M agic W a n d Office,
24 B uckingham Street, Strand, W .C .2
1937
 C O N T E N T S.
PAGE
A n O p e n in g E f f e c t ............................................................... 3
P r e d e t e r m in e d T h o u g h t .................. .................. 3
A D i f f e r e n t D i e -B ox ... ... ... ... 4

O rgan P ip e F l o w e r G r o w t h ................................. 5

S t r e t c h in g a R o p e ............................................................... 5

S t r e t c h in g a R o pe (Second M e th o d ) .................. 6
R in g an d L oop ............................................................... 9

D ie and R o p e ... .................. ... ... 9

U n iq u e C u t R o p e ............................................................... 11

P r a c t ic a l L iv in g a n d D ead T e s t ................................. 11

T h im b l e t h r o u g h H a t ................................................ 12

S im p l e C ig a r e t t e C a t c h in g ................................. 13
R o p e s a n d R in g ............................................................... 15

D u p l e x F i s h -B o w l P r o d u c tio n ... ... ... 15

A S u m P r e d ic t io n ............................................................... 16
A P ro d u c t io n B ox I dea ................................................ 17
A B roken M atch .................. ................................. 18

T h e T .S . P ro d u ctio n B o x ................................................ 18

G l a s s P e n e t r a t i o n ............................................................... 19

A M a g a z in e T e s t ...............................................................20

Made and printed in Great Britain by

G e o . B, F l o w e r & S o n s L t d . , 15-16 Verulam Street, London, E .C .l
 AN OPENING EFFECT.
C O LL EC TIO N '

E ffec t. T h e p e r f o rm e r u n ro lls a la rg e scro ll w h ich is

of V ictoria

co v e red w ith a ju m b le o f le tte rs. H e th e n sh o w s th e

b ac k o f th e scroll w h ic h is se en to be blan k . T h e le tte re d
sid e o f th e scro ll is a g a in tu r n e d to th e au d ien ce, a n d
th e le tte rs a re se en to h a v e a rr a n g e d th em selv es to re a d ,
“ G ood E v e n in g E v e ry b o d y .”
R e q u ir e m e n ts . A la rg e b a n n e r o r scroll, w ith a stick a t
The State Library
ALMA CONJURING

e ith e r end. T h is b a n n e r is m a d e o n th e c a rd b a n n e r
p rin cip le. O n th e o u tsid e is p a in te d a ju m b le o f le tte rs ,
a n d w ith in th e flap a sen ten ce to re a d “ G ood E v e n in g
E v e ry b o d y .”
M e th o d . U n ro ll th e scroll a n d sh o w th e sid e w ith th e
ju m b le o f le tte rs . N o w tu r n th e b a n n e r ro u n d to sh o w
th e back, a n d w h ile d o in g so re le a se th e flap. T h e n tu r n
th e le tte re d side to th e sp e c ta to rs a n d show th e g re e tin g .

P R E D E T E R M IN E D THOUGHT.
T h e p e r f o rm e r w rite s th e n am e o f a c o lo u r o n a b la n k
c a rd . W ith o u t sho w in g an y o n e w h a t h e h a s w ritte n h e
p laces th e c a rd , back o u tw a rd s, in a sm all g lass. H e n o w
in tro d u c e s a p a c k e t o f c a rd s on each o f w h ic h is p r in te d
a sp o t o f a d iffe re n t colour. T h e se c a rd s a r e sh u ffled b y
a sp e c ta to r, a f te r w h ich one c a rd is fre e ly selected . T h e
ch o sen s p o t-c a rd is th e n p la ce d in th e glass w ith th e c a rd
w h ich b e a rs th e w ritin g . T h is la tte r c a rd is im m ed ia te ly
re m o v e d fro m th e g lass an d h a n d e d to a s p e c ta to r w h o
re a d s alo u d w h a t is w ritte n on th e c a rd . I f he say s “ R e d ,”
o r a n y o th e r co lo u r, th e chosen c a rd is ta k e n fro m th e
g la ss a n d is sh o w n to b e a r a sp o t o f th e p re d ic te d co lo u r.
R e q u ir e m e n ts . A b o u t a d o ze n b la n k v isitin g c a rd s ,
a n d a d o zen on each o f w h ich h as been p a in te d , o r p rin te d ,
a sp o t o f a d iffe re n t co lo u r. A sm all g lass th a t w ill h o ld
th e c a rd s in a n u p r ig h t p o sitio n . P la c e a c a rd w ith a
r e d sp o t fac e d o w n o n th e to p o f th e p a c k e t o f b la n k
c a rd s.
3
 M e th o d . P ick up the packet o f blank cards, turn the
tw o top cards over as one, and w rite the w ord “red” on it.
T ak e these tw o cards off th e packet as one, and slip them
in the glass, the w ritten side o f the card aw ay from the
spectators. N o w introduce the packet o f coloured spot-
cards, have a person exam ine and m ix them, then let
him select one card. H e is not allow ed to look at the card
h e chooses w hich is straightw ay put into the g la ss back
outw ards. R ecount w hat has happened, then rem ove the
card on w hich the prediction is w ritten, and hand it to a
spectator. A sk him to read aloud w hat is w ritten thereon.
W h en he has done so, rem ove the tw o cards as one, from
the glass. T hen turn and expose, sh ow ing that the chosen
colour w a s correctly predicted.

A D IF F E R E N T D IE -B O X .
(D iagram on page 7)

T h e difference betw een this and other die-boxes is that

the die used is p erfectly solid, and no shell is needed.
R e q u ir e m e n ts . T he box has the usual fou r doors, tw o
back and tw o front. It also has a top door, or lid, and
under this top door there is a tray 1J in. deep. T h e
partition d ivid ing the tw o com partm ents o f the box is
hollow , the w idth o f the space betw een the w alls being also
1J in. A square piece o f tin is hinged to one o f the doors,
and this is painted on one side to represent a die. T h is
tin flap w orks independently o f th e d o o r : see diagram .
T he die is a three inch block o f w ood, painted and spotted
in the usual m anner, but it is cut into slabs or slices, each
lin . thick. In addition to the faked die a solid one to
m atch is also required. A square tube, about 6|i n . high is
divided by tw o w ires w hich are fixed to the sides.
M eth o d . Place the tube over the faked die w hich rests
on the table. S h ow the solid die, drop it in the tube from
the top, and im m ediately lift the latter bringing the faked
die into view . L ay the tube on its side, pick up a plate,
then take the tube, reverse it, and place it on the plate.
N o w display the box. O pen the front and the back doors,
and close them again. L ift up the top door, then pick up
4
the die and prove it to be solid. T h e die m ust be gripped
firmly w ith the fingers and thum b and then it can be
banged on the table as hard as required to prove its
solid ity. U n d er cover o f the top lid apparently place the
d ie in the b ox through the top. A ctu ally one section is
placed tray on the right, and one section in the le ft. T h e
third section goes sid ew ays into the h ollow partition. N o w
close the top lid, and open the front door revealing the flap
w hich represents the die. F rom this point w ork the usual
die-box routine, finally sh ow in g the b ox em pty, then lift
the tube and sh ow the solid die on the plate.

ORGAN P IP E FLOW ER GROW TH.

[Diagram on page 7)
T h is is an idea fo r u sing the fam iliar “O rgan P ip e s”
to produce a plant w ith flow ers. T w o tubes only are used
and in sid e the sm aller one an artificial plant is suspended,
as show n in the diagram . T h is plant is m ade by stick in g
w ires into a circular piece o f w ood an inch thick. T h e
flow ers and the leaves are attached to the w ires w hich
are painted green. A t each side o f the disc a thread is
fastened the free ends o f w hich each term inate w ith a little
m etal hook. T h u s the plant can be suspended inside the
sm aller tube. T h e tw o tubes, together w ith a glass dish,
are seen on the table at the com m encem ent o f the effect.
M e th o d . P ick up the larger tube and show it to be
em pty. N o w slide the sm aller tube in sid e the other tube
and lift the outer one upw ards taking th e plant w ith it by
m eans o f the hooks. S h ow the second tube em pty, replace
it on the table, and stand the glass dish on top o f the
tube. P lace the loaded tube inside the dish, at the sam e
tim e releasing the hooks, thus allow in g the plant to
settle in the dish. R em ove the tube and disclose the p la n t;
see diagram .

S T R E T C H IN G A ROPE.
( Diagram on page 7)
T h e perform er ties a length o f tape, w hich is introduced
as rope, into a loop and then, pulling it w ith h is hands,
5
he starts to stretch the loop. It grow s longer and longer
until finally it is seen to be tw ice its original length.
R e q u ir e m e n ts. A length o f tape know n as “P y ja m a ”
tape. T h is tape is about one inch w id e and, w h a t is m ore
im portant, it is tubular. A shorter piece, about tw o inches
long, is also required.

M e th o d . T ake the longer p iece o f tape and insert one

end into the other. T h e inserted end, as w ill be seen in
the diagram , g oes about three-quarters o f the w a y round,
and the result is a ring o f rope. N o w take the short piece
and tie it, as show n in the diagram , around the large loop
at the join. T h e tape, or rope, is now set for w orking.

P ick up the tape and apparently tie the ends. S h o w th e

loop, keeping the fake ends in view , hold the knot w ith
the le ft hand, and pull at X w ith the right. K eep pulling
as if stretching the rope, m aking the loop larger and
larger. W h en the end is nearly out bring the right hand
up to the knot and clip end “A ” in the crotch o f the thumb.
A slight pull brings this short piece aw ay in the hand.
Separate the ends o f the large loop, and throw the tape
to the spectators.

S T R E T C H IN G A ROPE.

(S econ d M ethod)
T h e rope in this effect is the sam e as that used in the
first m ethod, on ly n o extra piece is required. T a k e a
length o f the h ollow tape, and cut a slit in it about tw o
inches from one end. N o w double the tape up in to a loop
and push the loop through the slit. T h e m ore loop that is
pushed in the bigger the stretch at the finish.
H old the loop in the le ft hand, the fingers covering the
slit, the ends “A .A .” show ing above the fingers. N o w
start to pull the loop at X w ith the right hand. P ull
out a little at a tim e, and the loop w ill appear to grow
bigger and bigger.

6
7
 in here.

-M Duplicate
Die heTC
Vo,
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Uo. Hook'*'
Vo

8
 R IN G AND LO OP.
(Diagram on page 7)
E ffec t. A loop o f ro p e is seen to be tie d to th e c ro ss­
b a r o f a sta n d w h ich re sts on th e p e r f o r m e r ’s tab le. A
so lid rin g is n o w p assed f o r ex a m in a tio n . W h ile th is is
b ein g do n e th e p e r f o r m e r h a n g s a h a n d k e rc h ie f o n th e
tw o u p rig h ts o f th e sta n d th u s h id in g th e loop b u t n o t th e
tie d en d s o f th e ro p e. T a k in g th e rin g h e h o ld s it b eh in d
th e h a n d k e rc h ie f. W h e n th e h a n d k e rc h ie f is re m o v e d a
few se conds la te r th e rin g is seen to be th re a d e d o n th e
ro p e. T h e ro p e is n o w c u t a w a y ju s t below th e k n o ts,
a n d b o th th e ro p e a n d th e rin g a re p assed f o r in sp ectio n .
R e q u ir e m e n ts . A sta n d w ith a c ro ss-b a r as sh o w n .
H a lf - w a y u p th e u p rig h ts a re tw o h o o k s on w h ich to h a n g
th e h a n d k e rc h ie f. A piece o f ro p e fa k e d a s fo llo w s.
N e a tly jo in th e e n d s w ith w ax , a n d a ro u n d th e m id d le o f
th e ro p e tie a s h o r te r len g th . S ee th a t th is k n o t r u n s
f re e ly u p a n d d o w n th e lo n g e r ro p e, th e n tie th e s u rp lu s
en d s a ro u n d th e c ro ss-b a r o f th e sta n d . T h e re s u lt is a
lo o p o f ro p e a p p a re n tly se cu rely tie d to th e c ro s s -b a r o f
th e sta n d . A h a n d k e rc h ie f a n d a c u rta in rin g co m p lete
th e a p p a ra tu s.
M e th o d . S h o w th e loop tie d to th e sta n d . P a s s th e
r in g f o r insp ectio n , a n d m ean w h ile h a n g th e h a n d k e rc h ie f
o n th e h o oks to conceal th e en d o f th e loop only. R e ce iv e
b ac k th e rin g , a n d p la ce it b eh in d th e h a n d k e rc h ie f.
S e p a ra te th e w a x e d en d s o f th e rope, th re a d th e rin g ,
ro ll th e e n d s o f th e ro p e n e a tly to g e th e r ag a in , a n d p u ll at
X till th e jo in e d en d s rea ch th e fa k e k n o t. R e m o v e th e
h a n d k e rc h ie f a n d show th e rin g on th e rope. C u t th e
ro p e clean a w a y below th e k n o t w ith a p a ir o f scisso rs,
le av in g th e k n o t on th e c ro ss-b ar, a n d p ass th e r in g a n d
th e ro p e f o r e x a m in a tio n .

D IE AND ROPE.
(Diagram on page 8)
T h e p e r f o rm e r p asses f o r in sp ectio n a le n g th o f ro p e
a n d a w o o d en die th ro u g h th e c e n tre o f w h ich ru n s a
hole. A s p e c ta to r is a sk e d to th r e a d th e d ie on to th e
9
rope, and return it to the p erform er w ho proceeds to
thread the ends o f the rope, through the holes in tw o
u prights w hich are fixed to a w ooden base. T h e ends o f
th e rope are now secured to tw o staples at each end o f
th e base. T o the spectators it appears im possible to
rem ove the die w ithout cutting the rope. T h e perform er
n o w stretches a foulard from pillar to pillar hiding
the die. In a few seconds he rem oves the die under cover
o f the foulard w hich is then rem oved and the rope show n
intact. A t the conclusion the rope and the die m ay again
b e passed for inspection.

R e q u ir e m e n ts . A w ooden base w ith tw o uprights

through each o f w hich, near the top, a h ole is drilled for
th e rope. In addition to this one o f the pillars has tw o
•cavities cut in it, one beneath th e other. T h ese openings
a re o f such a size as to accom m odate a die. W h en it is
placed in either cavity the side o f the die should be flush
w ith the side o f the pillar, w ith the one spot side, w hich
m asks the h ole in the die, to th e ou tside. A sm all hook is
fixed to the top, and at the front o f each upright for the
foulard, and a staple at each end o f the base to w hich to
tie the ends o f the rope. T w o w ooden dies, exa ctly alike
a re required, and th ese have a h ole drilled through their
centres. T h e openings in the pillars are concealed w ith
a suitable black-art design.

P r e p a r a tio n . P lace one o f the dies in the lower

op en ing in the pillar.

Method. P a ss the other die and the rope for ex ­

am ination, and have the die threaded on the rope. Thread
the ends o f the rope through the holes in the uprights, and
tie the rope-ends to the staples in the base-board. T ake
the foulard and hang it on the hooks. U n d er cover o f the
drape slide the die alon g the rope into the opening in the
pillar. W hen the die is right hom e, rem ove the duplicate
from the low er opening, unhook the foulard, and sh ow the
d ie to be free. P ass the die and the rope for exam ination
if desired.
10
 U N IQ U E CUT R O PE .
{Diagram on fa g e 8)

E ffec t. T h e p erform er sh ow s a length o f rope tied

betw een the arm s o f a “U ” shaped stand. T h e rope is cut
through the m iddle and tied. T h e knot is n ow covered w ith
a handkerchief, a m agic pass, the h and kerchief is rem oved
and the rope is seen to be restored. T h e p erform er cuts
the rope aw ay from the stand, and throw s th e restored
rope out fo r inspection.
R e q u ir e m e n ts . A stand as sh ow n in the diagram .
It is m ade o f a p iece o f m etal tube w hich is attached
to a suitable base. A slot is cut at the end o f each arm o f
the tube, and ju st under the slots a sm all dum m y piece
o f rope is tied, the knots being to the fron t o f the tube,
that is, facin g the spectators. N o w obtain a length o f
s o ft rope and thread it through the tube. L eave enough
slack so that, after the rope has been cut, a knot can be
tied. N o w sew the ends o f the rope n eatly together and
pull until the join is inside the tube.
M e th o d . S h ow the rope on the stand ; it appears to
be a short length o f rope tied to th e tw o arm s o f the
stand. Cut the rope through the m iddle at X and tie the
cut ends so that the knotted rope w ill be stretched tigh tly
across the stand. H old the knot w ith the right hand, and
co v er both w ith a handkerchief. A s the right hand
em erges from under the hand kerchief, the k not and the
rope is p ulled to the right, and the pull is continued w ith
the le ft hand until the knot passes right through the slot
in to the tube. R em ove the handkerchief and show the
rope is restored. F in a lly cut the rope aw ay close to each
arm, and pass the restored piece fo r exam ination.

P R A C T IC A L L IV IN G A N D D E A D T E S T .
( Diagram on page 8)

E ffec t. T h e perform er has five blank cards and five

en velopes selected from a packet o f each. H e asks a
spectator to w rite the nam e o f a dead p erson on any one
11
o f the cards and place it face dow nw ards on the table.
O n each o f the rem aining fau r cards the spectator is re­
quested to w rite the nam e o f a living person. A ll the cards
are now placed in the envelopes and sealed. T h e spectator
is then invited to m ix up the envelopes, place them on the
table in a row , and cover them w ith a handkerchief, the
perform er turning his back w h ile this takes place. W h en
the m ixin g is finished, and the envelopes covered, h e turns
round, reaches under the handkerchief, and rem oves the
envelope containing the nam e o f the dead person. In
this m ethod the envelopes and the cards can be freely
chosen, and n either are m arked in any w ay.

R e q u ir e m e n ts . A packet o f sm all envelopes, and

one o f blank cards. T h e latter should be the sam e w idth
as the envelopes, but a quarter o f an inch shorter.

M e th o d . H a v e five cards and five envelopes chosen.

H a v e a “dead" nam e w ritten on one card w hich is placed
face dow nw ards on the table. F ou r “liv in g ” nam es are
w ritten on the rem aining cards and these are placed
alongside the card w ith the “dead” nam e. N o w pick
up the “dead” nam e, slip it in an envelope, but push it
right hom e. P u t the liv in g nam es in the rem aining en­
velopes, but only push them in to the top edge o f the
envelopes. S eal all the envelopes, let a spectator shuffle
them , lay them on the table, and cover the five w ith a
handkerchief. R each under the handkerchief, and fee l
for the envelope containing the card w hich w a s pushed
right hom e. T h is envelope, as explained, contains the card
bearing the “dead” name.

T H IM B L E THROUGH HAT.
[Diagram on page 8)

E ffec t. A sleight w herein a thim ble is apparently

passed through the crow n o f a borrow ed hat.
R e q u ir e m e n ts . T w o thim bles, one o f w hich n ests
w ithin the other.
12
 M e th o d . P lace the larger o f the tw o thim bles on the
m iddle finger o f the right hand, and back-palm the sm aller
thim ble b y clipping it betw een the first and third fin g e r s;
see diagram . H old the hand palm tow ards the audience,
pick up the hat in the le ft hand, and w ith the thum b o f
the right hand, push the visible thim ble off the m iddle
finger, and let it drop visib ly into the hat. P lace th e right
hand under the hat, and insert the m iddle finger into the
back-palm ed thim ble. D isp lay the thim ble and show the
hand to be otherw ise em pty back and front. A g a in place
the right hand under the hat, and apparently throw the
thim ble, really back-palm ing it again, through the bottom
o f the hat. R each inside the hat, re-insert the finger into
the back-palm ed thim ble and push it inside the thim ble
w hich w as dropped into the hat. R em ove the tw o thim bles
as one, and sh ow th e hand back and front, then return
the hat to the lender.

S IM P L E C IG A R E T T E C A TC H IN G .
(D iagram on -page 8)

S ecretly load several cigarettes in to a b ow ler hat w hich

is then held in the le ft hand. O btain a cigarette w ith the
right hand, gripping one end betw een the first and second
fingers. Curl these fingers inw ards, and extend the thum b
alon g the cigarettes; see diagram . Stand w ith the le ft
side to the spectators. T o m ake the cigarette appear,
quickly draw back the thum b until it touches the finger­
tips, thus bringing the cigarette into view . A pp arently
throw the cigarette into the hat, but, as soon as th e hand
is hidden, slide the thumb alon g the cigarette again.
T h e catching can n ow be repeated, and at the finish
actually throw the cigarette into the hat, and tip th e con ­
tents on to a tray.
13
 ROPES AND R IN G .
(Diagram on page 14)
T h re a d tw o le n g th s o f ro p e th ro u g h a rin g a s sh o w n
in th e d ia g ra m . N o w p u ll o n th e ends o f th e ro p e s till
th e y a r e in th e p o sitio n sh o w n a t “ B .” C ro ss th e ro p es
“A ” “ D ” to th e le ft, a n d “B ” “ C ” to th e rig h t. P a s s th e
en d s “A ” “ D ” th ro u g h th e le ft a rm -h o le o f th e v est, a n d
“ B ” “ C ” th ro u g h th e r ig h t a rm -h o le . A t th is p o in t sh o w
th e rin g on th e ro p es, a n d as th e rin g is ra ise d in o r d e r
to p lace b etw e en th e te eth , se c re tly slip th e ro p e s off th e
rin g . T h e ro p es a n d th e r in g a r e still h eld to g e th e r, h o w ­
ev er, a n d th e n p laced b etw een th e teeth . C ro ss th e ro p e s
“ D ” “ B ” in f ro n t o f th e v est, ta k e th e e n d s o f tw o ro p e s
in ea c h h an d , a n d e x te n d th e a rm s. T h e ro p e s w ill th e n
com e c le a r o f th e vest, a n d th e rin g w ill be le f t b etw e en
th e te eth . T h is m e th o d , w h ich is th o ro u g h ly p ra c tic a l,
allo w s th e effect to be p e rfo rm e d a t a n y tim e. I t is v e ry
sim ple to w o rk , a n d th e re a re no su sp icio u s m o v e s w ith
th e ropes.

DUPLEX F IS H B O W L P R O D U C T IO N .
[Diagram on page 14)

T h e p e r f o rm e r sh o w s a fo u la rd o n b o th sides. S u d d e n ly
h e a p p e a rs to h a v e c a u g h t so m e th in g u n d e rn e a th th e
fo u la rd . H e g oes to his ta b le a n d o n th e to p o f it h e
p la ce s h is “ c a tc h .” W h e n th e co v e r is rem o v e d a b o w l
o f g old-fish is seen u p o n th e table. A g a in th e p e r f o r m e r
re a c h e s u n d e r th e fo u la rd , an d p ro d u c e s a seco n d bow l
o f fish. T h is is p la ce d on to p o f th e first one. T h is m a k es
a n ex c ellen t o p en in g effect.
R e q u ir e m e n ts . A b ox ta b le th e to p o f w h ic h co n sists
o f tw o sp rin g -h in g e d flaps. T w o slots a re c u t in th e
flaps, see d ia g ra m , a n d th e se p e rm it a c a t-g u t loop, w h ich
is a tta c h e d to o n e bow l concealed in th e b o x -to p , to p r o ­
tru d e . A t th e back o f th e ta b le is a sh e lf-se rv a n te , a n d
o n th is re s ts th e second bow l. A piece o f b la ck clo th to
c o v e r th e ta b le -to p is also req u ired .
15
 T o se t. P la c e th e looped bow l in th e b o x -to p . C lose
th e flaps an d d ra w th e c a t-g u t loop th ro u g h th e slots.
T h e o th e r bow l is p la c e d o n th e sh e lf-se rv a n te , a n d th e
p iece o f clo th is sp re a d on th e tab le-to p .
M e th o d . D isp lay th e fo u la rd a n d p re te n d to catch
so m e th in g u n d e r it. Go to th e ta b le a n d u n d e r co v e r o f
th e fo u la rd , ta k e h o ld o f th e c a t-g u t loop th ro u g h th e
sq u a re o f cloth, a n d p u ll u p w a rd s till th e bow l is c le a r o f
th e flaps. A s th e flaps fall in to place allo w th e b o w l to
r e s t on th e tab le, a n d d ra w th e fo u la rd to w a rd s th e re a r.
W h ile th e sp e c ta to rs’ eyes a r e o n th e ex p o sed bow l,
se cretly ta k e th e second one fro m th e shelf k ee p in g it co n ­
cealed u n d e r th e fo u la rd . A f te r a su itab le p a u se reach
u n d e r th e fo u la rd a n d p ro d u c e th e seco n d bow l, a n d re s t
it on to p o f th e first one. T h e sq u a re piece o f clo th is r e ­
ta in e d u n d e r th e fo u la rd .
A SU M P R E D IC T IO N .
( Diagram on page 14)
E ffec t. T h e p e r f o rm e r sh o w s bo th sides o f a slate.
H e w rite s so m e th in g on th e sla te a n d re s ts it on his
ta b le w ith o u t sho w in g an y o n e w h a t h e h a s w ritte n . H e
no w ta k e s a second slate, a n d wTrite s o n it (in ad d itio n
su m fo rm ), f o u r ro w s o f fig u res w h ich a re called o u t b y
th e sp e cta to rs. T h e sum is a d d e d u p a n d th e to ta l is
w ritte n u n d e rn e a th . T h e first sla te is n o w p ic k ed up,
tu rn e d ro u n d , a n d w ritte n on it is th e c o rre c t a n s w e r to
th e sum . T h e b e a u ty o f th is tric k is th a t th e re is no
fo rc in g o f an y o n e o f th e figures, th e w h o le tric k b ein g in
th e slates them selves.
R e q u ir e m e n ts . A sla te (N o . 1), as sh o w n in th e
d ia g ra m . T h is is d iv id e d in to five equal sections b y w h ite
lin es on b o th sides, b u t th e b o tto m se ctio n is c u t aw ay .
A flap w h ich is b lack a n d h a s lines on one side on ly is m ad e
fo r th is slate, a n d th e flap is p la ce d o n th e sla te w ith th e
lin es o u tw a rd . T h e second sla te (N o . 2 ), is th e sam e size
as th e first, a n d a p a r t fro m bein g lined, th e o n ly p r e ­
p a ra tio n a b o u t it is th e a d d itio n o f a flap w hich is also
d iv id e d b y w h ite lines.
M e th o d . S h o w sla te N o. 1 a n d p re te n d to w rite so m e­
th in g on th e F L A P side. T h e slate, flap u n d e rm o st, is th e n
16
p la c e d on th e table. P ic k u p sla te N o . 2 a n d h av e f o u r
ro w s o f figures called o u t. T h e s e a re w ritte n o n th e
flap in th e spaces b etw e en th e w h ite lines. T h e su m is
n o w ad d e d u p , a n d th e a n s w e r w ritte n in th e fifth o r
b o tto m sp ace u n d e r th e sum . T h e to ta l is ch e ck e d to
m a k e s u re it is c o rre c t. H o ld th is sla te fac e-d o w n a n d
p la ce it on sla te N o . 1. S lid e N o. 1 sla te fro m u n d e r N o . 2,
b u t in so d o in g let th e flap fa ll fro m sla te N o . 2 o n to sla te
N o. 1. T h e re s u lt is th a t w h e n th e la tte r is tu r n e d ro u n d ,
th e so-called p re d ic te d a n sw e r w h ich is seen is re a lly
th e to ta l o f th e o rig in a l sum sh o w in g th ro u g h th e c u t-o u t
p o rtio n o f th e fak e d slate. T h e re a so n f o r h a v in g th e
w h ite lin es on th e sla te s is, o f course, to h id e th e m issin g
piece.
A P R O D U C T IO N B O X ID E A .
(Diagram on page 14)

E ffe c t. T h e p e r f o rm e r sh o w s a sm all b o x w h ic h o p e n s
a t th e to p a n d f ro n t. T h e re is no d o u b t a b o u t th e b o x
b ein g em p ty , b u t as a f u r th e r p r o o f th e p e r f o rm e r d ro p s a
cu b e in sid e a n d th is e n tire ly fills th e box. T h e cube is
th e n rem o v e d an d th e b o x is still seen to be em p ty . T h e
f ro n t a n d to p d o o rs a re now closed, a n d alm o st im m ed ia te ly
th e to p d o o r is re-o p en e d a n d a p ro d u c tio n com m ences.
R e q u ir e m e n ts . A sq u a re b o x th a t o p en s a t th e to p
a n d th e f ro n t, see d ia g ra m . A ho llo w cube (N o . 1) w h ich
h a s o n e sid e r e m o v e d ; th is fits insid e th e box. A seco n d
cube (N o . 2) w h ich fits inside th e first one. N o . 2 cube
is open a t th e to p a n d th e fro n t, a n d a m ir r o r is fitted
a t an an g le o f 45 d e g re es to reflect th e b o tto m o f th e cube.
L o a d th e sp ace b eh in d th e m ir r o r w ith silks, etc., a n d n est
N o. 2 cu b e in sid e N o . 1.
M e th o d . S h o w th e box all ro u n d a n d o p en th e to p a n d
f r o n t lids. S lip th e n-ested cubes (a s o n e cube) in sid e th e
b ox. A p p a re n tly rem o v e th e cube, b u t re a lly ta k e o n ly th e
o u te r shell fro m th e box. T h a n k s to th e m ir r o r th e b o x
still a p p e a rs to be em pty. C lose th e box, th e n o p en th e
to p lid an d m ak e th e p ro d u c tio n . N ee d less to sa y th e
in sid e o f th e cubes, a n d th e insid e o f th e b o x sh o u ld be
p a in te d th e sam e colour.
17
 A B R O K E N M ATCH.
E ffec t. T h e perform er p laces a m atch on his out­
stretched le ft palm. H e -strikes the m atch w ith edge o f
his right hand, and the m atch is seen to be broken in tw o.
R e q u ir e m e n ts . A m atch.
M e th o d . O pen the le ft hand out fiat. P lace a m atch
on this hand at the base o f the fleshy part o f the thum b ;
see diagram . R aise the right hand and w ith the side o f it
strike the m atch in the centre. Just b efore the blow falls,
contract the palm. T h e open space created beneath the
m atch m akes the breaking easy, and the palm is
im m ediately flattened again.

THE T .S . P R O D U C T IO N BOX.
{Diagram on page 19)
D esigned for the production o f four large silks, this
little box can be sh ow n em pty betw een the production
o f each silk. T here are no flaps, false bottom s, or m irrors
to w orry the operator, and the box can be freely displayed
and even spun on the end o f the wand.
C o n str u c tio n . T he box is fou r and a h alf inches
square, and the top ed ge is flanged as show n in the
diagram . T h is leaves a space o f h alf an inch betw een the
four sides o f the box. F ou r slots, J inch w ide and 1 inch
long, are cut in the top edge o f the box. T he slots m ust
be in the centre o f each side. T h e lid for the box is a flat
piece o f m etal w ith five lugs. F ou r o f the lugs, w hich are
H inches long, fit o u tside the four sid es o f the box. T he
fifth, or m ain lug, is directly behind, and parallel w ith, one
o f the other lugs. W h en the lid is placed on the b ox this
fifth lu g enters a corresponding slot.
W o r k in g . F old fou r silk s neatly, and place one in each
o f the double sides o f the b ox directly under the slots.
S h o w the b ox em pty, pick up the lid, concealing the double
lug w ith the fingers. D isp lay both sides o f the lid, then
place it on the box, and as the extra lu g enters a slot one
o f the silks is forced from its place o f concealm ent.
18
R e m o v e the lid a n d p r o d u c e the first silk. R e p e a t the
p e r f o rm a n c e , a n d each tim e the lid is replaced, engag e the
e j e c to r lug in a slot u n d e r w hich th e re is a silk, until the
r e m a in in g th r e e silks h a v e been p ro d u ce d . T h e to p edge
of th e box should be d e c o rate d w ith a design to conceal the
slots.

V ie .o j.

G L A SS P E N E T R A T IO N .
(.Diagram above)

A sheet of glass is s h o w n a n d slipped into tw o g ro o v ed

u p rig h ts a tta c h e d to a base. T w o e m p ty soc k ets a r e n o w
h u n g o v e r th e glass w h ich is th e n tu r n e d s id e w a y s to the
spectators, a n d tw o lit’tle em p ty tubes a r e fixed, one in each
socket. A sm all silk in se rted into one tu b e p e n e tr a te s th e
glass a n d is w it h d r a w n f r o m th e o th e r tube.
S e c r e t. R e fe r e n c e to th e d ia g ra m s will m a k e e v e r y ­
th in g clear. T h e y sh o w th e glass a n d the base, a n d it will
be seen t h a t th e sockets a r e a tta c h e d to a “ U ” sh a p e d str ip
l®
o f metal. T h is is slipped o v e r th e sheet o f glass a t “ X , ”
a n d th e f r a m e is tu r n e d edg ew ays to th e audience. T h e
tw o tu bes a r e really “ g h o s t” tubes, one o f w hich is loaded
w ith a silk. T h e tubes a r e placed in th e sockets a f t e r they
have been show n e m p ty in th e u su a l w ay. A silk is now
push e d into the em p ty tube an d its duplicate w ith d r a w n
f r o m the loaded one. T h e tubes a r e th e n rem o v e d fro m
the sockets a n d once m o r e sho w n em pty.

A M A G A ZIN E TE ST .
A m agazine, a f t e r being open ed at a n y pag e b y a
spectator, is r e tu r n e d to the p e r f o rm e r , w h o places his
h an d s behind his back to receive it. T h e sp e c ta to r is n o w
a s k e d to again t a k e th e m a g az in e a n d close it. T h e p e r ­
f o r m e r im m ediately n a m e s th e selected page.
R e q u ir e m e n ts. A m a g a z in e w h ich has th e pages
n u m b e re d a t th e top corners. A strip o f c a r d b o a r d to act
as a bo o k -m ark .
M e th o d . H a n d o u t the m a g a z in e a n d the bo ok-m ark.
R e q u e st som eone to open th e m a g az in e at a n y page an d
no te th e n u m b e r o f it, a n d r e tu r n the m a g az in e still open.
Place th e h a n d s behind the bac k to receive it, a n d hold the
selected page w ith th e le ft h an d. W i t h th e r ig h t h a n d
co u n t tw o pages f u r t h e r on, a n d t e a r of? the n u m b e re d
co rn e r o f the n e w page. K e e p this piece in th e r ig h t h and ,
an d tell the sp e cta to r to c o n c en tra te on th e n u m b e r of
the chosen page. S ecre tly glim pse th e n u m b e r on the
c o r n e r in th e r ig h t h and, a n d t u r n a w a y f r o m the spec­
tators. L e t a sp e cta to r take the m agazine, place th e book ­
m a r k a t th e selected p a g e a n d close th e book. T o n a m e
the chosen p a g e cou n t b a c k tw o p ag e s fro m the n u m b e r
on the to r n co rner. F o r e x a m p le : if the n u m b e r on the
to r n c o r n e r is tw enty, the selected p ag e w ill be eighteen.
H a v e th e m a g az in e opened a t th e b o o k -m a rk e d page fo r
verification. T h e idea of u sin g a b o o k -m a rk is to p rev e n t
the sp e c ta to r r u n n in g th r o u g h th e p age s a n d d isco vering
th e to r n corn er.

C opyrigh t by G eo rge Johnson, 1937

20 A a -cP
v ct ? ' s ’
Books on Conjuring & Entertaining
L E T ’S P R E T E N D , by W ilfr id Jonson. A first booklet by th is
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P O N S IN O N C O N J U R IN G . T ranslated and annotated by
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W A L K E R ’S C A R D M Y S T E R IE S , by R oy W alk er. A book of
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N E O M A G IC , by S. H . Sharpe. T h e M a g ic of to-d ay and
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THE “ M A G IC W AND” O F F IC E
2 4 B u c k in g h a m S tre e t, S t r a n d , L o n d o n , W .C .2