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 Contents
Preface ................................................................................................................................. 5
FOREWORD........................................................................................................................ 6
ZOMBIE............................................................................................................................... 7
THE GIMMICK ................................................................................................................... 7
THE BALL SHINES............................................................................................................. 8
IF YOUR FINGER HURTS.................................................................................................. 8
THE START ON THE ARM ................................................................................................ 8
KARSON’S ZOMBIE GIMMICKS ....................................................................................... 9
THE SKULL IDEA .............................................................................................................. 11
A HOLE IN THE CLOTH .................................................................................................. 12
THE LUMINOUS IDEA .................................................................................................... 13
LIKE A MAGNET .............................................................................................................. 14
JUGGLING THE BALL ..................................................................................................... 14
TWO IDEAS FOR A ZOMBIE VANISH ............................................................................ 15
NO BASE IDEA ................................................................................................................. 16
THE GIMMICK MOVE ......................................................................................................17
ZOMBIE THRU THE HOOP ............................................................................................. 18
THE STORY HELPS .......................................................................................................... 19
THE CALVERT STORY ..................................................................................................... 19
COMEDY ZOMBIE BALLOON ......................................................................................... 19
THE NO GIMMICK ZOMBIE ........................................................................................... 19
FOSTER'S VANISHING ZOMBIE TWO METHODS ....................................................... 20
BALL WIGGLES ................................................................................................................ 21
SPIRIT BALL ..................................................................................................................... 22
FINGER SUSPENSION OF BALL .................................................................................... 23
BOUNCING BALL BETWEEN HANDS ........................................................................... 24
THE GLOBE OF “MU” ...................................................................................................... 25
ABBOTT’S POCKET ZOMBIE-SPHERE .......................................................................... 26
ZOMBIE PRESENTATION ............................................................................................... 28
ZOMBIE ROUTINE AND PATTER .................................................................................. 30
DEVICE FOR ZOMBIE ACT ............................................................................................. 31
WILL DESMOND’S ADDED EFFECT .............................................................................. 33
FULL STAGE FLOATING BALL ROUTINE ..................................................................... 39

3
ONE-MAN ZOMBIE A LA FLOATING BALL .................................................................. 41
THE SNAKE BASKET ZOMBIE........................................................................................ 46

4
 Preface
By J. Burk Whittaker

There is without question many routines in the magic world that can be called classics.
If you look at any one to add to your show that can play for children or adults alike the
Zombie ball will more than fit the bill. Levitation are always crowd pleaser's, in any
shape or form. The Zombie can be performed in a large stage or a small one and it is all
the same.

The following text will give enough information to create an outstanding routine that
will get you noticed by all who are watching your show. With the material in the pages to
follow and some great imagination you will be in great position to amaze the masses.
Should you decide to read only one book before putting together a full Zombie routine
this should be the one. It covers many of the major break through in the standard
gimmicks history. It also covers many advancements that have gone unnoticed in the
past so if you choose to use them they will be all new to modern audiences.

Take my word for it you will create gasps and looks of amazement by all watching, if you
are skeptical read the book and do the routine for a friend in your living room and you
will be convinced instantly.

5
 FOREWORD
It is indeed a pleasure to see TIPS ON ZOMBIE reprinted, and a bigger and better
edition. I am sure that Zombie workers will find many novel ideas within these covers.

Percy Abbott was one of the very first people to see Zombie when he visited us in
Springfield, Mass. He really gasped, and was truly amazed. He immediately gave me my
first order for Zombie, and that was a swell beginning.

But even now, Zombie is still in it’s infancy. The basic routine has been elaborated upon
by many clever performers, and STILL the surface has barely been scratched. All you
have to do is to watch various performers and you will notice that a move crops up here
and there that you have not thought of.

All copyrights and patents to Zombie are now the sole property of Abbott’s Magic Mfg.
Co. New innovations for Zombie have been developed and more are in the works. Keep a
sharp lookout for them. You will be amazed.

Well, here’s hoping that Further Tips On Zombie gives you some new ideas for your
Zombie Routine.

JOE KARSON
January 16, 1963

6
 ZOMBIE
The Magician weaves a strange and fantastic story about Zombies. He tells about a
mystic silver sphere that these Zombies must have about them day and night—about the
ghostly and radiant power that this ball has locked within its self. And that this amazing
sphere gives the Zombie another form of life after he or she is dead.

He tells the audience that should this ball come in contact with the performer or any
member of the audience while it is radiating this mysterious influence that they too
would become Zombies — and thus he will control it with a piece of cloth.

The ball is on his table, a silver ball, like a mirror it reflects the many lights about it. The
shadows about the ball reflect like hollow depths.

The cloth is shown on both sides, and the ball is covered. The Magician holds two ends
of it.

Slowly and unbelievably the form of the ball rises taking the cloth with it—it rises up—
up, until it is clear of the table. Then it floats away from the table, under the cloth, and
now it sinks down, out of sight leaving the cloth in the performer’s hands—but wait, it
now slowly floats up and into view—toward the performer; he steps back, then toward
audience, taking the cloth with it, then again under the cloth and up—up, and still up
until the cloth is almost out of the performer’s reach. With his hands high, the performer
may turn around showing all sides—and with a lot of apparent concentration he guides
the ball down and down, and toward the table, and onto the base, its resting place. The
cloth is removed, the ball is now inert.

THE GIMMICK
(Joe Karson)

One of the most important things about Zombie is, how you wear your gimmick. If you
wear it wrong, either your finger will hurt or it will float the ball sloppy-like or unsafely.

Make sure that it fits comfortably with ball on. If not, get out your pliers and go to work
like a tailor fitting a suit. After all it’s YOUR gimmick. It should fit up to the second joint
of finger.

7
 THE BALL SHINES
(Joe Karson)

After every performance or rehearsal wipe the the ball well, with a nice soft cloth. The
moisture of your hands is an acid type and contact with aluminum will slightly oxidize it
each time, therefore wipe the ball dry with cloth. This will keep the ball nice and shiny.

IF YOUR FINGER HURTS

(Joe Karson)

It’s to be expected. The leverage is sideways and the muscle has never done any work
that way. You will find to your delight that the tired feeling wears off in a couple of days
if you keep using the gimmick ON THE SAME FINGER. The ZOMBIE instructions call
for using the third finger. I have seen performers use the middle or second finger with
results just as good. However, I still like the idea that TWO fingers are showing all the
time.

One fellow I know doesn’t use any fingers. He has the gimmick in his back pocket to
start, the spiral-end up, and while showing the cloth he grabs it with his right hand and
continues using it that way. Of course he is handicapped for many effects, but that’s the
way he likes it.

When we first put ZOMBIE on the market we tried many ideas for the finger end. We
tried a tube, well, that would fit some, and not fit another. We tried to split the tube, that
had drawbacks, and we tried a thimble gag. But the tubing and thimble will turn while
the spiral will tighten if that happens. We made the gimmick one size because you can’t
send your finger for a fitting, so take a pair of pliers and twist it to fit your own finger.
It’s worth it because you get it to go on easy and stay on tight, and it fits YOU right.

THE START ON THE ARM

(Joe Karson)

This is the way I begin ZOMBIE. I pick up the foulard and gimmick—gimmick properly
adjusted. I hold the gimmick against my arm, fingers properly holding gimmick side,
then I hold the OTHER corner of cloth in same fingers. I take the ball, arm extended
gimmick side AWAY from audience, and place the ball right on the gimmick, and secure
it with thumb and fingers of left hand. Figure 1. Now it seems to audience that the ball is
sticking to your arm. With left hand you take the left corner, and to your right shoulder,
against the arm. Now you turn cloth to audience, and extend cloth and gimmick in front
of you and begin.

8
 KARSON’S ZOMBIE GIMMICKS
This is a flat piece of metal. The wire inserted into cork is soldered on, preferably a
staple so cork will not turn. In the center the flat piece is hinged, so that when you tilt
the gimmick toward you, the weight of the ball will carry it to your gimmick hand with
an amazing effect. To stop it there tilt toward audience. Reverse to get ball to center.
Once you try the gimmick several times, it can be used as the regular gimmick with care.
This is a spooky effect and will baffle the regular Zombie performers. See figure 2.

This is a gimmick with a tapered cup on the end, soldered on to wire at a slight angle, as
into it, you insert a lit candle. Figure 3. Maneuver the candle about back and forth a

9
number of times, then have it come close to you, and you blow it out as you appear that
you do not wish to be burned. Then proceed under the cloth ala regular routine.

This is an adapter for the above gimmick. It is a receptacle similar to your light socket at
home, except that it has a metal (tin) disk soldered into it, so that a slight screwing
motion will light the magic light bulb. Figure 4.

At the end is no cork. The wire, instead, is turned into a round hoop effect to hold the
better type light bulb that you can light and turn off at the bottom. Figure 5. You take the
bulb, make your mystic passes and it stays lighted. Put it down LIT on table, get cloth
and gimmick, use arm method of placing bulb in gimmick. It's a weird effect as bulb
light can be seen faintly under the cloth. When thru blow out bulb as you turn gimmick
for it to go out.

This gimmick is in reverse to gimmick No. 1. It is a thin tube (brass) with a wire
(thickness of Zombie gimmick) running thru it. At the X end it is turned up at an angle
for cork. There is a slit in the tube that runs from A to B. The wire is bent at a 45 degree
angle and protrudes slightly and acts as a stop from A to B. C is where the slot is sealed
after wire bent at B is inserted. X is bent after wire is inserted. Figure 6.

10
Now if you tip the gimmick and cloth slightly, the ball will slide down to your other
hand. Tip the other way and ball returns to center. Proceed with routine.

This is a comedy gimmick. See figure 7. It is merely a dowel rounded at the top, with a
needle firmly imbedded into it, long enough to be stuck into the cork gimmick. ‘X’ shows
top of dowel which should be rounded. A SMALL balloon is blown up and the dowel is
inserted into the balloon so that the air stays inside. The pin is inserted into the regular
gimmick and Zombie routine is performed somewhat. To finish, in your left hand corner
of the foulard is a pin. During the routine stick pin into balloon, get rid of gimmick with
foulard.

THE SKULL IDEA

(Joe Karson)

The profile of the skull making that slight turn gives the thing away in our opinion. If
you decide to use a skull, set it slightly on an oblique angle, so that when it comes
toward you back of the cloth, it will straighten out. If you think there is anything to the
skull idea, then you can try any other object. See figure 8.

11
 A HOLE IN THE CLOTH
(Joe Karson)

The hole is made somewhat smaller than the ZOMBIE ball. On your UP movements, the
top of the ball shows through the hole, as it goes right over the ball. Also, BACK of cloth
movements can be developed and the audience can see the ball going back and forth.

12
The cloth in this case should be black so that the gimmick will not show through the
hole. Figure 9.

Another similar idea is WITHOUT the hole, drawing up the cloth in your hands and the
ball is visible near the bottom of the cloth hanging in your hands. This is a pretty move,
try it.

THE LUMINOUS IDEA

(Joe Karson)

One of the boys has worked out a complete act with ZOMBIE which we would like to
describe but this wouldn’t be fair. But, we will give you an idea to play around with. In
part of his act, the lights go out, and BLACK LIGHT comes on. The ball is painted with
luminous paint that glows in ‘black light’. Are you beginning to see the possibilities?
Here is an added idea. When the lights go out, and you are amongst some people with
the luminous sphere, (regular luminous paint), you can even pocket the cloth now and
take out a penlight with your free hand.

13
Hold the light under your chin so that your face is lit up with weird shadow effects. The
ball must float lower than your face because something would show against it. Let’s give
this a little thought, especially if you do ZOMBIE for small audiences at home. This is
ghost stuff with shivers. Brrrrrr.

LIKE A MAGNET
(Joe Karson)

The ball sticks to the edge of the cloth, while you hold it as shown in figure 11. To begin,
get the ball to the top edge of cloth, while it is held out straight before you. Now flop
over about two inches of cloth over the gimmick, holding cloth taut. This covers the
gimmick and you can hold cloth at a 45% angle and turn completely around showing all
sides. This is very effective so don’t overlook it.

JUGGLING THE BALL

(Joe Karson)

Note fig. 12 and 13. Let the ball drop with the cloth, right down into the folds of the
cloth. It doesn’t take much practice and the move is out of this world. Swing it back and
forth and it looks like a bit of juggling.

14
 TWO IDEAS FOR A ZOMBIE VANISH
(Joe Karson)

Use the one you like best. You are doing ZOMBIE with the cloth before you, ball sinks
back of cloth, slowly draw cloth closer to your body and let ZOMBIE pass your hip at the
right, and then it’s in back of you. Tip gimmick up and rest ball against your back.
Hands are now on hips. Swing free hand around and show cloth on both sides. ZOMBIE
is GONE! Now pull taut cloth to the right (ball comes with it back of cloth), then to left
to balance the move, then ZOOM, the ZOMBIE appears in the middle of the cloth going
upwards. This looks UNCANNY, try it before a mirror.

The Number Two vanish is on a table, if you use a draped table. The ZOMBIE is floating
down to its base, with cloth taut now before the table. Sink ZOMBIE down back of it and
rest your right hand on the table. With left, tap table and lift cloth. Again replace over
table, lifting cloth off table, ZOMBIE ZOOMS into it. Figure 14.

15
 NO BASE IDEA
(Joe Karson)

One performer we know has his assistant bring the ZOMBIE out on a cushion, with the
gimmick ALWAYS IN PLACE, and the cloth over it. He merely takes cloth and gimmick
and proceeds with his routine. He finishes by letting ZOMBIE down on cushion, lifts
cloth and that’s all. Neat and clean.

16
 THE GIMMICK MOVE
(Joe Karson)

When you are through working your routine try this finish. ZOMBIE is in the position as
shown in figure 16. I assume you are right handed. Holding cloth by two ends, let go
with the left hand, and with it, reach up into cloth and grasp ball by the bottom. Figure
17.

Pull out right hand finger from gimmick turn ball with left so that the gimmick swings
against left arm, right hand still holding edge of cloth, FLIPS IT INTO THE AIR,
IMMEDIATELY right hand goes to left, remove ball, leaving gimmick, and catch cloth
now coming down with LEFT HAND, covering gimmick. PUT IT RIGHT DOWN, now
show ball. There is nothing more I can add to explain the no gimmick move, except to
tell you to read it over carefully, and PRACTICE IT.

17
 ZOMBIE THRU THE HOOP
(Joe Karson)

Step up close and don’t miss a thing. One hitch to this move is that you need an assistant
to do it. If you can solve that problem, then go ahead and get out your Linking Rings.
Eight inch or larger. Or, have a special one made. It will pay you. For this move, you use
the KEY RING.

Hold the ball in the same position as in ‘THE GIMMICK MOVE’. (Figure 17 shows how
to reach in to secure ball while right hand whips away the cloth.) Your assistant holds
the ring with both hands, fingers and thumb, covering the opening which is spread out
almost an inch. The opening goes over the GIMMICK side, and SHE CAN FEEL THE
GIMMICK AGAINST HER FINGERS, and passes the OPENING OVER GIMMICK AND
CLOTH, YOU JUST STAND THERE. Now about the other side, look at the illustration,
you will hold cloth with your OTHER hand. BETWEEN THE THIRD AND FOURTH
FINGERS. As soon as you feel the HOOP against your fingers, you grab the cloth with
FIRST FINGERS AND THUMB. NO HESITATION, all one seemingly clean cut move. If
you don’t think this is a GREAT ILLUSION, do it for someone, and do it for YOURSELF
IN FRONT OF A MIRROR.

18
 THE STORY HELPS
(Joe Karson)

This idea may appeal to many of you. One magician took his ZOMBIE home and in a few
days he told me his wife wouldn’t let him keep it in the house. He had scared her with a
whopper Zombie story! So, he worked up a spiel about the Atom. The ball represents the
atom magnified a few hundred billion times, a planet in its own right, like the earth. The
idea appealed to him so much that he put it in his lecture. He studied up on atoms,
molecules, etc. so he would KNOW WHAT HE WAS TALKING ABOUT just in case there
would be people in his audience that might KNOW. YOU had better do likewise as high
school students are familiar with atoms and molecules.

THE CALVERT STORY

(Joe Karson)

John Calvert, well known magician and motion picture star, asked me to make a large
ZOMBIE ball that would float to him from off stage while he picked up the foulard and
gimmick.

This was easy because Calvert had several assistants. I attached a small wire hook to the
ball. An assistant at each side off stage held a thread. One side had the ball hooked on.
When Calvert was ready for it, one assistant held the thread up, with the ball on it, the
other lowered his. After Calvert had the ball the assistants pulled in the thread.

COMEDY ZOMBIE BALLOON

(Joe Karson)

Instead of the ZOMBIE ball use a balloon. Prick it with a pin at the finish for a vanish!
Attach to gimmick with ‘double’ Scotch Tape.

THE NO GIMMICK ZOMBIE

(Joe Karson)

This is especially good for your second show for the same audience as a quickie, or for
an encore.

All you need is your Zombie foulard and the ball on the base on your table, AND a pin in
the RIGHT hand corner of the foulard. Pick up the foulard with the PIN CORNER in
your RIGHT hand, the opposite corner in your left.

19
Show foulard, both sides. Stand with your LEFT SIDE toward the audience. Extend left
arm out straight, bringing pin corner to your left shoulder with right. Cover the ball.
Remove foulard from ball, left hand STILL EXTENDED.

While doing this, PIN THE CORNER IN RIGHT HAND TO YOUR SHOULDER. While
holding foulard thus, PICK UP THE BALL WITH RIGHT HAND. Get away from the
table a short distance, show the ball peeping over the top, traveling from one edge of
foulard to the other, traveling down the edge, bump the middle, edge over to the table,
place ball down, remove pin grasping corner, face the audience. Show foulard on both
sides, and throw it over the ball. Take your bow.

FOSTER'S VANISHING ZOMBIE TWO METHODS

(Neil Foster)

In my lecture on the Zombie at the Get-Together in Battle Creek in 1956, I suggested a

couple of ways to vanish the ball. Near the end of the routine have the gimmick against
the arm so ball is resting near elbow. Remove ball, then replace it VERY GENTLY on
gimmick. Now hold silk in front of you and let ball bounce against and behind the silk
several times (be careful now as ball is just setting on gimmick and can fall very easily).
Stand near table where top hat is setting with a cloth folded up inside as padding. With
silk still stretched in front of you (chest high) move ball behind body and over hat, turn

20
gimmick slightly, letting ball fall into hat (or black art well) then hit the GIMMICK
against center of silk. Walk forward so you are far away from table, bouncing gimmick
against silk will give audience the idea ball is still there. When ready for the vanish snap
gimmick against the forearm and toss silk into air. Figure 20.

If you wear tails a big pocket can be sewn in with mouth of pocket pinned to back of
trousers, a step forward will open pocket to allow ball to clear.

BALL WIGGLES
(A. C. Kroeger)

By holding your fingertips over hole in ball you can display ball all around. Insert tip of
thumb in hole, hold ball with both hands, spread fingers and cause ball to wiggle. See
figure 21.

21
 SPIRIT BALL
(A. C. Kroeger)

Interlock fingers of both hands as in figure 22. By moving thumb ball will be seen to
float above and below fingers. A “Spirit Ball” effect can be created here. Have ball rise
once for ‘yes’, twice for ‘no’, and three times for ‘doubtful’. Be sure thumb, that is not in
ball, is out of sight also.

22
 FINGER SUSPENSION OF BALL
(A. C. Kroeger)

This beautiful effect has to be seen. By all means try it. Have ball laying on palm of hand
with thumb in hole. Place finger tip of other hand (see figure 23) on top of ball. Lower
fingertips of hand beneath ball. This hand can be turned clear around ball by turning
back and forth around it. This is just a quick sleight, you should not try to make it last
long.

23
 BOUNCING BALL BETWEEN HANDS
(A. C. Kroeger)

Hold ball between both hands, thumb in hole. You appear to bounce the ball between
both hands. This must be done real fast to get the real effect that it is bouncing. Use
about a three-inch movement and slap ball with left hand and rise ball with right hand,
lifting ball with thumb in hole. Figure 24.

24
 Special Patter Story On “ZOMBIE”

THE GLOBE OF “MU”

By G. Edward Eversole

At this time I would like to offer something a little unusual and different. This is not a
magical experiment but, as it is definitely mysterious, I feel that it will be of interest.

First, I would like to tell you of the background surrounding this demonstration. About
1930, Harvard University sent a group of archaeologists to Africa to check up on the age-
old legend of Atlantis. As anyone here who has read any of the fantastic pulp magazines
knows, Atlantis was at one time the center of a very advanced civilization located on a
small continent somewhere in the Atlantic Ocean.

At some long forgotten date there was a tremendous upheaval, a very severe earthquake
many times more powerful than has ever been experienced in our memory, which
caused this continent to sink beneath the waters. The people who escaped supposedly
landed on the northern part of the South American continent and formed what is known
today as the Mayan race. The Mayas, by the way, were an extremely advanced peoples
with a culture already on the decline when we first heard of them. These scientists were
seeking to refute or verify this and similar legends.

About two years later they returned with what is considered to be positive proof of the
existence of an advanced civilization several thousand years ago. This proof of what they
called the Land of MU consisted of several archeological finds — among them tools, a
marvelous highway, evidence of a plumbing system used for both hot and cold water,
and several articles that, as yet, seem to have had no use.

One of these articles I have with me tonight. It was found buried in the bottom of the
ocean along with several other peculiar pieces of apparatus. Although several experts
examined it minutely they did not discover its actual use.

Since an uncle of mine was a member of the expedition, he obtained this box and what it
contained for further research. In his investigation of the legends about the ancient
Land of MU, he ran across a portion of a story describing a globe resembling that in the
box. He also discovered that there was a jewel connected with its use but how or what
for he could not find out. With this information as a lead he renewed his inspections of
the box. Finally he found this receptacle in the box and the jeweled band that it
contained. What the nature of this jewel is no one knows.

As far as that goes, the material of the Globe has not been identified. It looks like a metal
but has none of the ordinary characteristics of metals. It is neither magnetic nor
diamagnetic, it is very pliable, is quite heavy and does not react with any known acid or
alkali. Its crystalline study reveals nothing and X-rays pass through it like it were a sheet
of paper.

25
But the most peculiar property that this globe possesses is this. When it is shrouded
from the light it gains the power of obeying the mental commands of anyone wearing
this jeweled band. It holds that power as long as it is not in direct light, but loses it
shortly after being exposed. The metal glows as you will see later, under certain
radiations which do not affect it otherwise. If I may have the light dimmed a little I
would like to show you this marvelous globe.

Here it is—the mysterious Globe from MU. I will cover the globe so that the house lights
may be turned back up and try to demonstrate the marvels of the Globe from MU and its
jewel in full light. Just a mental command by the wearer of the jewel will cause it to
gently float up into the air. Commanding it to move in any direction has just that effect.
(Several flourishes with the ball to satisfy the directions you give.)

After being in contact with the cloth for a certain length of time the ball exhibits another
peculiar property. It will actually cling to the cloth as tho it were magnetized. It may be
that this is an actual magnetism but, as of yet, modern science can only explain
magnetism among metals and, neither of these materials possess metallic properties.
(Demonstrations.)

If you will notice, after the ball has been in the dark for a short while it stores up enough
power to float even while it is exposed to the light. (Demonstrate.)

Now if I may have the lights turned way down I will demonstrate a property I mentioned
a little while ago. That is its mysterious glow. Since there is not much light now we may
be able to get the globe to float without its covering more often. (Demonstrate.)

The jewel is getting warm and slightly uncomfortable so I will have to stop the
demonstration. I hope that the exhibition has been interesting as well as entertaining.
Thank you.

ABBOTT’S POCKET ZOMBIE-SPHERE

by the late Percy Abbott

Here is a pocket version of one of the world’s most famous tricks. Hundred of magicians
perform the stage version and it never fails to entertain and mystify... But it was left to
Neil Foster to top all performers with his many original moves and flawless
presentation. So, too, with this pocket version it’s up to you to practice the moves &
decide on a set routine. The first part of this routine, without the fake, is good in this
pocket version, and also makes the getting of the fake easier, as onlookers are not
expecting the second part of routine. The ball should be plastic, about two inches in
diameter. There are two holes in the ball. As the ball is being examined, draw attention
to these holes saying “They are there to show you that the ball does not contain
mechanism of any kind. The fake is concealed in the right sleeve.”

26
In the first part, place ball in the center of the. borrowed hank. Allow hank to drape
down. Twist a rubber band around hank and close to ball. Draw folds of hank down in a
twisting motion and hold in right hand, approximately two inches below ball. Owing to
the twist in the hank, the twisted portion and ball will remain in a perpendicular
position. Now, if you will finger-press the folds of hank and turn hand slightly, the hank
and ball will move slowly to the horizontal.... the left hand, of course, making the
necessary passes. Change hank and ball back to perpendicular position and this time
move hank in the opposite direction to the horizontal. Done right, these easy-to-do
moves look very spooky and mystifying. Remove rubber band, place right hand under
hank and grip ball, allowing the hank to drape over the hand and sleeve opening. Left
hand draws end of fake out of sleeve into right hand fingers (still concealed).
Immediately remove hank and pass the ball for examination. During this, get end of fake
between thumb and first finger ready to insert into ball. This is done after you take it
from spectator. With left hand get hole into position as ball is placed in right hand. With
end of fake in bail cover with hank, under cover of which pull fake all the way out of
sleeve.

Grasp ball thru the hank with right hand. Next place ball on the table. Spectators are
only aware of the ball under the hank. Grasp edge of hank between first and second
fingers (fake held between right thumb and first finger). Hands are about eight inches
apart. Holding edge of hank taut, raise hands SLOWLY and the effect is that the silver
ball is rising up - up.

The following are a number of effects that you can use in a routine:

THE VANISH OF ZOMBIE—With hank stretched between both hands, swing silver ball
back and along right forearm. To show the opposite side of hand, move left hand past
right hand and up against back of forearm. Reverse movements to bring silver ball back
to center of hank.

TO BALANCE SILVER BALL ON EDGE OF HANK—With hank held taut between both
hands, roll end of fake between fingers and bring silver ball to view on the edge of the
hank.

27
FOR THE FINAL VANISH—Grasp ball thru hank in left hand. With right hand under
hank disconnect fake and hold against side of ball (in same hand). With left hand grasp
corner of hank that hangs down and with it the end of the fake and pull both away (the
hank hiding fake), exposing ball FREE in right hand. Tuck fake into outside coat pocket
under the pretense of tucking a corner of the hank in this pocket. Ball can now be again
examined or momentarily placed on table. Pick up the ball in the right hand. Remove
hank ONLY from pocket and cover ball. Carefully fold a corner of hank up and over top
of ball. Follow with remaining three corners. (This gives bulk). Left hand cups over the
top of hank and ball, apparently holding ball, but in reality right hand, concealing ball is
removed. Now turn left side to audience which masks the right hand dropping ball into
right coat pocket. Place hank on spectator’s open hand (it still appears to be the covered
ball) ... Make a few magic passes and puli hank away and BALL HAS VANISHED.

NOTE: If you are working this effect immediately following your entrance before
spectators, then it is only necessary to slide the fake for the ball up into the right sleeve
... BUT, if you wish to perhaps present one or more effects before introducing the
Zombie—Sphere, then the practical thing is to have the fake secured in the sleeve until
you are ready to use it. This can be done very simply by making a very tiny slit in the
lining of your coat sleeve, near where the lining is attached to lower part of sleeve near
wrist. Push the hook part of fake in this slit so that it anchors there. This allows the rod
part of fake to rest along the inner forearm until you are ready for the trick.

NOTE: It is best to keep the ball moving away from you ... up high ... down low, etc.,
blending the moves into one continuous routine. All these movements SLOW AND
GRACEFUL.

ZOMBIE PRESENTATION
By Vernon D. Carr

Required for this presentation are the following: Zombie ball, feke, and foulard, of
course; and in addition a Gwynne tip-over box (in my case, I made a small one just for
this trick) with a special preparation of the load chamber (described later), and a table
specially prepared to keep the feke out of sight, but in a logical place and position so that
it may be picked up easily and naturally when needed.

I begin the presentation with a bit of pseudo-scientific patter about the power that the
Zombie ball seems to generate for itself; how it has baffled scientists, etc. So then I
exhibit the small tip-over box, and carefully release the lid. The instant the pressure of
the lid is gone, the Zombie ball, seemingly animated, pops up out of the load chamber. It
does not quite clear the box, however, and I usually have some business with it here,
shoving it down into the load chamber, only to have it bob up again — I remark on the
marvelous power and energy the ball seems to have.

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What makes the ball have this power? Well, I'll tell you. In the prop list above, I told you
about a bit of preparation in the load chamber. That’s where the power comes from and
I have a web of elastics (see sketches) stretched across the well of the load chamber, so
that the Zombie ball will rest on it and still be visible (about half of it) above the lid of
the tip-over box. When the lid of the load chamber is to be closed, however, it is
necessary to shove the ball down, stretching the elastics in order to close the lid. When
the lid is opened again, the ball bobs up.

After I get the Zombie in my hand, stroking it a bit seems to quiet it, so I may then place
it on the table in the proper position right over the gimmick (the Zombie feke).

Here is where I’ll tell you about the table, on top of which (near the rear corner on my
left when I’m behind the table and facing the audience) I have secured firmly in an

29
inverted position the Zombie stand. In one side of this stand, I have cut a slight groove,
into which the feke will rest and extend across the table top so that it is in proper
position to receive the ball and keep it upright until needed. This inverted stand is
placed at a distance just far enough away from the rear edge so that the ball may rest
squarely on the gimmick. So that all this cannot be seen, I have a narrow upright strip of
wood along the rear edge and this is painted black. The height of this strip is just enough
to disguise the presence of the gimmick. Ball is now all ready to work.

So I walk around to the rear of the table and picking up the foulard (and with it the
gimmick and the ball), I go through the presentation of the Zombie, using my own
variations of the creator’s routine.

This over, I pick up the Zombie and make it appear that the extraordinary power it has
is still evident by keeping the ball in motion. I then pick up the tip-over box and go
through some business pretending that the ball is still active as I place it into the load
chamber. The elastic web helps here but after allowing the ball to pop up a time or two, I
press the lid down and lock it, then go into the tip-over routine for the vanishment of the
Zombie.

ZOMBIE ROUTINE AND PATTER

By Richard L. Holmes

I think the best way to present any floating trick is in a slow and spooky manner. In the
following routine, you will find what I really believe to be a knockout effect.

Before going any further, let me say that the correct music for this routine is a record of
a monotonous, spooky rhythm, with a constant beating of tom toms. That may sound
pretty deadly, but I can tell you that in using this type of music you will find that your
audiences will never forget your presentation of the Zombie; it seems to have hypnotic
powers. The record that I use for every performance is “Dagger Dance” from Natoma,
and played by the Boston “Pop” Orchestra.

Special Patter (and Presentation): (Before the music starts to play, you tell the story as
follows) “You may have been wondering what is this silver globe that I have on the table.
It is the amazing result of a very successful experiment. The man who made this died
shortly after he gave it to me, and I am known to be the only possessor of this sphere. To
you, it probably looks just like a little silver ball, but it is a lot more than that, friends. A
portion of the brain, spirit, and the lanoggalimbo nerves of a DEAD man are carefully
arranged and tightly sealed within this globe. You will soon see that this DEAD man is
once again living — only this time in the form of a silver ball. He cannot see, talk, nor
hear; but he can MOVE and will MOVE — so help me. That is the reason I call him a
ZOMBIE, because he was once dead, but is again moving under his own power.”

“The scientist who recreated this Zombie man as a result of his experiment soon became
mad because he couldn’t believe his eyes. When I went hunting last year down in the

30
Shallow Valley Woods, I met this mad scientist and he quickly gave it to me, and told me
to take it far away from everyone, and destroy it.”

“Well, after doing a little experimenting myself, I found that Mr. Zombie could be
controlled with a piece of cloth, and nothing else. I also found that it wouldn’t move if it
was placed near a strong magnet, so I had a magnetic pedestal made to keep it quiet. I
find that if I let it get too far from its pedestal in any direction, it immediately gains
enough power to pull me around. Every now and then it gets away from me and I have
to catch it and put it back on its stand here. And now, without any further ado, I will
attempt to control Mr. Zombie with this cloth (exhibit cloth) for you people.”

At this point, the music plays rather loudly as the Magician covers the globe. He then
proceeds with his favorite stunts with Zombie and finishes by allowing Zombie to carry
(?) him off back stage. He again enters with just the globe in his hands and it is seen to
float away from his hands and return. Magician then returns the Zombie to its pedestal
with the remark, “I evidently allowed it to get too far from its pedestal.”

When properly presented as I have outlined it here, Zombie will really afford good
mysterious entertainment for everyone. The patter may seem a bit lengthy to you, but
after you try it once you will see what I mean when I say that it seemingly has hypnotic
power. Some people will even believe the story and make a desperate attempt to come
backstage after the show to again see Zombie. It gets them. When I perform it as above,
I always hear screams from some women in the audience.

DEVICE FOR ZOMBIE ACT

By James Smith

The following is my addition to the amazing Zombie. I firmly believe that anyone who
has Zombie will find that the trouble in constructing the apparatus for the routine will
be well worth the time it takes. In the routine you seem to bring the dead back to life. It
gives a firmer reason as to why the ball floats.

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First, you make a device as shown in the illustration. This is nothing more than a few
radio tubes, some switches and wiring. The device should somewhat resemble the
machine used to bring Frankenstein’s monster back to life. This device, aside from
looking like something out of a nightmare, also serves another purpose. It provides a
perfect place for the concealment of the Zombie feke. The feke comes into position
automatically when the ball is placed on the device to bring the dead man back to life
(?).

The base (the one that comes with Zombie) is inverted and secured to the machine with
screws. A slot is cut in the back of the base to allow the feke to run through. Thus when
you set the ball on the inverted base, the feke, which is completely hidden by the wooden
ledge, comes automatically into position when you begin your routine. Although this
device does not have to be elaborate, the more wires and lights you have, the more
effective it is. There is no definite size except in length, and it must be at least twice the
length of the feke.

When I get the ball into position I tell the story by Richard L. Holmes. I alter it to fit the
routine but the idea is based on his story. Then I throw the switch which causes the
lights to flash on. I tell them that the only thing that keeps the ball down now is the
current. Then I spread the cloth over the ball and go into the routine. Owing to the
position of the feke this is very easily accomplished. I use Mr. Holmes suggestion in
using the Dagger Dance from Natoma for the music and find it very effective. After the
floating routine is over with, I use Mr. Carr’s idea, a small tip-over box which is
especially constructed to vanish the ball and also make it appear as if it has power as it is
placed in the box.

This is the routine for Zombie, now I will give you my version of the story.

“You may have been wondering what is that weird-looking machine resting on the table?
It is the result of a very amazing and successful experiment. This ball and machine were
given to me by a mad scientist while I was on my hunting trip in Shadow Valley last
year. He told me to take it far away from everyone and destroy it. Believe it or not this
madman had recreated a dead man’s brain. Right now it is inside this silver ball. It can
only be brought back to life for a time. This is made possible no matter how impossible
it seems to you in the audience by the use of the machine. The scientist did not stay sane
long enough to perfect his machine so that it would keep the brain always alive. Now I
must warn you to keep your seats as this brain is very sensitive. It becomes alarmed at
the slightest noise from a human being. So if everyone is ready we will begin.”

“I have but to set these dials and turn the machine on. There! Now the only thing that
keeps the ball down is the current. As soon as I shut it off, the ball will begin to move.
There! See, it’s moving. (Make a sudden movement as if someone is acting frightened in
the audience. They usually do.) Please we must have it quiet. Thank you. (After the
routine is over.)

I shall keep this ball not a minute more. I knew that some day it would gain too much
power. If I can only get it into the box. There! This box was given to me by the scientist

32
in case the ball got out of control. Let’s see now. He said to turn the machine on and off
three times while the brain was in the box. It should make the ball vanish. Now let us see
whether or not he was right. Yes, at last it is gone and the secret is gone with it.”

WILL DESMOND’S ADDED EFFECT

(By Permission of Hollywood Magic Shop)

EFFECT: A large aluminum ball is resting on a small stand on the magician’s table. He
casts a brightly colored cloth or foulard over the ball. While the magician holds onto two
corners of the cloth, the ball slowly rises into the air, to shoulder height, taking the cloth
with it. The motion stops, the ball seems to melt away behind the cloth. Suddenly it
appears at and runs along the top of the cloth. Once again it drops away from the cloth.
Wait, it is behind the magi’s shoulder, whence it runs downwards to his fingertips. It
dips back under the cloth, then up, up, up, the magi must hold on tightly lest it run
away. It stops, comes out to the edge of the cloth which drapes down beside it. The magi
turns completely around so that the audience can see on both sides of the cloth. The
magi brings the cloth directly in front of himself.

The ball drops back under it... then ... slowly and methodically the magi turns the cloth
around. THE BALL has vanished completely. Both sides of the cloth are shown to the
audience. Whoops ... there it is, see? Right there behind the magi’s right shoulder. He
thrusts the cloth to his right, the ball pops back up under the cloth again, and floats right
out into the audience with the magi in tow. It stops, quivers for a moment as though
meditating, then floats back to the table and the stand whence it started. The cloth is
whisked away, the ball is picked up by the magi who tosses it into the air to show it free
of any and all preparation.

METHOD: Note carefully the illustrations. Follow the routine as per above. Now set up
your Zombie as in figure 28.

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The ball is resting on the pedestal, the hole in the ball is to the rear, the gimmick is
under the cloth, figure 29, with the end containing the finger grip to the right. Pick up
the rear corners of the cloth with the fingertips, at the same time put the center finger of
the right hand into the gimmick as in figure 30.

Under cover of adjusting the cloth to show it on both sides, bend the right center finger
back into the hand. This will take the gimmick to the position shown in figure 31.

That is, the gimmick will lay back along the right forearm from the fingertips to the right
elbow on the side toward the body.

34
To show the cloth on both sides hold as just mentioned, then cross the right arm in front
of the left causing the cloth to reverse, then uncross them as before. Just as the right
arm comes back into position to drape the cloth over the ball after having been shown
on both sides, snap the gimmick down from behind the arm to behind the top section of
the cloth.

Then drape the cloth over the ball as in figure 32. This will bring the gimmick into
position to insert the cork part into the hole in the ball. Insert the gimmick into the ball,
then slowly raise the ball off the table. This must be done so that the ball will always be
higher than the hands. See figure 33.

After this, pull the ball away from behind the cloth. This must be done slowly. To do
this, simply bend the right center finger, holding the gimmick, back towards the body.

35
Then bring the ball up to the top of the cloth, being sure that the gimmick does not show
and reveal the secret of the trick. Figure 34.

To make the ball go behind the shoulder, let the ball drop down a bit behind the cloth,
then bend the finger so as to bring the ball back and up under the left armpit. Show the
cloth once again on both sides. This time it is necessary to move only the left arm, the
right must remain stationary because of the gimmick. To make the ball appear, simply
raise the gimmick until the ball shows behind the shoulder. Figure 35.

At this juncture, run the ball down behind the arm until it reaches the wrist. Lift the arm
until the ball can go under the wrist and back under the cloth. It keeps rising up, up, the
magician apparently holding on for dear life. Incidentally, this looks very funny to the
lay audience and is sure to get a good laugh. Figure 36.

36
However, don’t overdo it. It stops, settles again to shoulder height, it slips up to the edge
as once before. At this time turn the top of the cloth down to cover the gimmick which
runs along under the folded-over cloth. The magi may now turn completely around,
showing the cloth on both sides. Figure 37 conveys the idea.

The cloth is now brought around to the front, the ball slips down behind it. Bring the
cloth to the right until it is just a bit to the right of the body, the ball behind the cloth.
Bend the finger, with the gimmick attached, so as to bring the ball back under the arm-
pit. The cloth will cover this movement. The cloth is shown on both sides by holding the
right hand still and bringing the left hand over to and crossing the right on the outside,
then back again. Figure 38.

37
To bring the ball back under the cloth, just reverse the movements described. The ball
begins to float out into the audience, figure 39, stops, then the magician brings it back to
the table and down onto the base as at the start.

38
To release the gimmick, let the cloth drape over the ball as you did at the start of the
routine. Pull backwards on the gimmick until it comes out of the ball. If any trouble is
encountered, be patient, don’t twist and jerk it. You are liable to pull the gimmick out so
suddenly that it will be jerked out from under the cloth and be exposed. After the
gimmick is removed, pick up the ball from under the cloth and toss it into the air. Be
sure that you give it a twirl. This can be controlled so that the hole will remain to rear.

FULL STAGE FLOATING BALL ROUTINE

(Mickey Ostaski)

After you are done with your regular Zombie routine you can go right into a full stage
floating ball routine. This is made possible by constructing a little gimmick made of cork
with two little hooks at the top. Figure 40.

This gimmick is pushed into opening of the ball snugly enough so that it will not come
out during the routine. Figure 41.

39
SET UP: All you have to do is place the gimmick behind the stand, figure 42. Now you
are set.

HOW I WOULD PERFORM IT: I would do my Zombie routine. Then after the ball is
returned to the stand I would remove the cloth and place it in back of the ball. The ball is
then picked up, (thumb is inserted in the opening of the ball). Ball suddenly floats up

40
ward between the hands. Then the ball is apparently caught. Pick up stand and show it
unprepared, etc. As the stand is replaced, gimmick is picked up and secretly pushed in
the ball. Now you are set for your full stage routine.

ONE-MAN ZOMBIE A LA FLOATING BALL

(We are including here Abbott’s “One-Man Floating Ball’ routine which can be used with
the gimmick described by Mickey Ostaski in his “Full Stage Floating Ball routine”).

PREPARATION: One piece of fine thread eight feet in length is required. The ends are
tied to form a loop and this is looped over the head and allowed to hang in front of body.

PERFORMING: Ball is shown and carelessly tossed into the air. Ball is held in right
hand. Left hand is engaged in thread, the thread passing between second and third
fingers — Figure 43. Bring both hands together, then slowly pass left hand over ball,
allowing thread to drop on top surface of ball and up under clips. When thread is
engaged in clips, invert ball (clip down), holding in right hand, then place left hand,
palm up, under ball so that thread comes between second and third fingers of that
hand—Figure 44. Grip ball in left hand and turn hand over.

Engage right thumb around both threads—Figure 45. Strain outward with right hand,
open left hand and ball remains suspended up close to hand—Figure 46. Bring up right
hand, slackening on thread and ball will descend. Lower right hand and raise left and
ball will rise. Next allow ball to descend Move left thumb up over two threads. Curl
thumb around thread as right hand moves out and away from body, and disengage
thread from between left hand fingers Allow ball to move down further, take away left
hand. Body may be turned completely at this point and the ball will swing outward.
Then get thumb of each hand at the back of one thread and separate threads—Figure 47.

Raise both hands, chest high. Curl fingers of each hand around thread so that thumbs
point inward—Figure 48.

41
Open out fingers so that they go under thread and now the thread is completely around
each hand, thus shortening thread—Figure 48. Note Figure 48 (A-B-C) — this makes
one continuous movement.

Twist thread around hands in this manner once more and raise hands high over head,
then lower to about chest high.

42
The next move is to float ball from hand to hand. This is done by allowing ball to slide
on thread.

Raise one hand very slightly and slope body. Next, lower ball, disengage one hand out of
thread twisted around it. Don’t allow ball to jerk while doing this. A little practice will
show just how much to strain on the thread. Next release the other hand in similar
manner.

With each thumb behind the thread, swing ball out and away from body—figure 49—
turn body, and when the left side is away from the audience, raise right hand high over

43
head and bring left hand up close to shoulder, and bend head forward. The right hand
can now move thread loop over the head. (The sketch, figure 50, shows front view of
this.) Then remove left thumb from thread.

You can now swing the ball in a wide arc, eventually allowing ball to rest on the floor.

Standing directly behind ball, get left thumb behind threads, lower right hand quickly
and at the same time raise left hand upward. This will cause ball to travel from floor
upward and high overhead. Catch ball, as it falls, with both hands.

44
45
 THE SNAKE BASKET ZOMBIE
(Mickey Ostaski)

You can also work the Zombie Ball like the famous snake basket trick. Just go through
your Zombie routine and then return the ball to the stand. Now have a card selected,
replaced, and brought to the top. Spread cards on the table in front of the ball but
remember where selected card is. Show cloth on both sides and cover the ball. Ball
slowly floats upward. Ball is followed a little way then it sinks and rises to the top edge of
the cloth. Ask the ball if it would like to do the trick you were rehearsing for two weeks.
The ball moves up and down nodding “yes”. So you hold cloth in front of the table with
the cards. The ball slowly sinks down and shortly returns to the top edge of the cloth
with selected card stuck on the front of the ball. The spectator is asked to remove his
card and ball suddenly sinks and vanishes only to reappear and return to the stand. The
reason the card stuck to the ball is because you have a piece of magician’s wax stuck on
the front of the ball in beginning of the routine.

46
A few ideas which were added after the original printing of this manuscript were drawn
on the back cover, I will try to give you the ideas in the following text.

The first is simply to use a black velvet foulard, this will deaden any light which falls on
it. Using this as a black art principle it will hide a gimmick which is covered with the
same black velvet. You will of course be able to spin around and show the ball floating in
the middle of the cloth.

Of course it would be best if you used this as a subtlety as opposed to performing the
whole thing in front of the cloth.

A small change can be made to this by using a black cloth with a red velvet cloth cross
running from corner to corner. If the gimmick is held so it runs in a line with the red
velvet once again it looks as if it is floating in the center of the cloth unassisted. It should
go without saying the gimmick is covered in a matching velvet.

This is just a gag line you could have a red light on the ball and explain to your audience
that “the ball is bashfull”.

Having the ball sit on your shoulder would bring the gimmick in line to help hide it from
the audience. This makes the ball look like it is in love with the operator.

To add a bit of humor you could have the ball keep raing in front of you face as you
begin to speak. You then stop speaking and the ball drops, just to pop up again as you
start to speak. This could be worked into a running gag for sure.

You could also have the ball tap your pocket which was originally loaded with a small
amount of change. This could come in handy to show that your ball has enough
intelligence to add small numbers together.

If you use the Zombie as closing effect you could make the following foulard.

47