r

I
 GREAT ! ” . . . is what everybody is saying about . . .. .
T h e LATEST release in the “VERNON SAGA” of the world’s greatest card
secrets ....
DAI V E R N O N ’ S

FURTHER
I N N E RS E C R E T S
OF C A R D M A G I C
Written and Photographed byLEWIS GANSON
in the style that hasmade the “UniqueMagic
Books” famous the world over.
Twelve Bombshell Chapters .. Thirty Dynamic
Tricks -Sleights and Flourishesfrom the man who
is acclaimed The WORLD’S Greatest MASTER of
MagicalKnowledge and Creation.Brilliant Inner
Card Secrets revealed for the very first time.
BLINDFOLD POKER DEAL - DAI VERNON’S
EVERYWHERE and SOMEWHERE - THREE
CARD MONTE - SWITCHINGACARD IN
AN ENVELOPE - LARRY GREY’S CARDS ACROSS- DAI VERNON’S
SECOND DEAL - MATCHING ANY NUMBER OF CARDS - STARING
HIM IN THE FACE - CARD FROM POCKET - CARDS OF COINCI-
DENCE - FOUR BLUE BACKED ACES - THE CARD PUZZLE.
VARIOUSGAMBLERS’PALMS - NOTES ON PALMING - TOP
CHANGE - BOTTOM CHANGE - HARRY LORRAINE’S CHANGE for
FOURCARDS - THE SUPERTRICKS OF LARRY GREY.Etc.,etc.
Everything is so clearly explained and illustrated . . even a newcomer to Card
Magic can master the wonderful material, fit for a KING of Magic.

Price f l . U.S.A. $3.00.

 TO OUR GOITER this month we welcome Hugh M. wy1ie ,+.ho
has also been kind enough t o contribute for this issue his lovely
silk routinewith which he won the HeygateShield. Starting
inmagic at theage of fifteen,Hugh began by constructing
his own Die Box, which was madewith suchloving carethat
i t is still a prized possession and isincludedinhis Children’s
‘~howst>othisday.

Hugh joined t h e Mahatma Circle of Magicians in 1934 where

hecame under the guidance of experienced performers such a s
Oscar Paulson and Austin Mitchell who helped him to gain
knon-ledge and experience. In 1946 he became a member of t h e Council and has served ever since, holding the
Presidencyin 1952.
With a natural flair for making things and thinking out tricky problems, it is not surprising that quite a good
deal of his time has been devoted to constructing and inventing magical apparatus. Several of his originations
have appeared in print amd he gained joint First Prise (with Louis Histed) for the best mechanical effect (and
the best effect in any section) in the World Competition organised by “ Abracadabra”.
For the first ten years or so of his magical life, Hugh specialised in Children’s Shows, but later transferred to
silk, then mental effects. He generally performs a double act with his charming wife who is a’n L.R.A.M. which
enables music t o be successfully introduced into the mental act.
Hugh is a Founder Member and Past Presidentof the Wirral Magical Society, winner of the Oscar Paulson Cup
and the Criffith’s Shield, so he is now able to pass on the benefit of his own knowledge and experience.
With the Gen Glass lifted we toast the health of Hugh M. Wylie and wish him continued health, happiness and
success in the years to come.
With the publication of Dai Vernon’s Further Inner Secrets of CardMagic comes the solution to a problem
I have posed to many friends in magic. It.’s the sameproblem originally cleverly solved by Lynn Searles in a trick
which he published , . . he used faked cards but commented, “perhaps one day someone will come up with a
method using ordinary cards”. Well Dai has given us another classic and t o whet the appetite of readers who have
not, yet purchased the book, I’ll quote from the text: “ The basic effect is similar to the standard FourAce Trick,
but there is an important difference in that the four Aces have blue backs and the indifferent cards red backs.
The faces and backs of the cards are shown repeatedly during the routine, so t h a t when the four blue backedAces
are placed in a. row and each is covered with Lhree red ba.cked indifferent cards, i t seems impossible for theAces t o
assemble in one packet., yet this is accomplished in a particularly clean manner. The method is extremely ingen-
ious and is a fine example of how Dai Vernon uses naturalness of action and superb routining to create an out-
standing effect”. Now I have another problem . . . there is one more volume t o complete “ Inner Secrets” . . .
we’ve had“Inner” . . “More Inner” . . “Further Jnner” . . what comes after that?
With you nextMonth,
LEWIS GANSON.
Answer ( ?) “ Some More Further Inner Secrets” - Harry.

CONTENTS - - - - - -
- Lewis Canson .___.. 3
From the Gen Desk Transpo
Coins - Rink .................. 15
Dice Scripto - Frederica . . . . . . . . . . . . . . . . . . 4 Lewis ‘Ganson Explains - Bill Milligan’s
Take It Slowly - Robert Hamilton ...... 6 “Record Hop” & “Flying
Saucers” ...... 18
A Silken Interlude Hugh -
Wylie ............ 7 A Novel Book Test - Gordon Prunty ...... 21
Improvementfor TheKnifeand Square
Papers - Jean Carles . . . . . . . . . . . . . . . . by
11 Two Tom Sellers ........................ 23
New Lamps for Old - Rink ............ 12 Review - Harry Stanley . . . . . . . . . . . . . . . . . . 26
-
GEN is published on the 10th of eachmonth by HARRY STANLm, 14, P i t h street, London, -
Single Copies : 2/6: Twelve monthssubscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription $4.00.
Editor : LEWIS GANSON. Art Editor : DENNIS PATTEN.
@ HARRYSTANLEY 1961. Contributionsare only accepted on thetermsthatthecopyright belongs t o
Harry Stanley.

3
 SOME TIME AGO I was given a little gift in the form of
a novelty propelling pencil. Part of the pencil
could be unscrewed and from thehollow thus revealed, three
tiny coloured dice could be poured out. I
felt it had possibilities for magical use, and the card is Seen to be the actual one thought
devised the following little effectwhichis of.
now a great favourite of mine. My good
friend Graham Adams thought very high-
ly of it and uses it. There isnothiner. new e REQUIREMENTS :
or clever in the routine, but thenovel dress-
ing has audience appeal. Pack of Cards-the ability to ‘’ Bottom
Deal” or deal “seconds” will be necessary
for the first method-No sleights are re-
Visualise the effect, thentry it out. 1 quired for method 2.
use sleight of hand, but I have also included
a simple method, which should be within
the reach of everyone and which should e ROUTINE and METHOD No. 1.
prove useful for other tricks.
Have pack shuffled by spectator and ask
EFFECT: him to think of any three cards and take
out the three cards he is thinking of, and
A spectator thinks of any card. He is lay them face downonthe table. You
handed a pencil and piece of paper and then take the pack from him and ask him to
asked to write the name of the card, then concentrate on ONE of the three cards.
fold the paper and retain it. Pack is shuff- When he has done this, have him return
led and cutinto two heaps. Performer the two cards he is not concentrating on, to
states that the pencilisreally a magical the pack. Hold out pack, so that they can
pencil and says he will prove it. Spectator be returned, and when this is done, shuffle
is told to touch any heap with the pencil . . the pack and remark that he only thought
this heap is taken. The spectator istold of one card, but for verification at a later
to unscrew pencil and tilt it, and three dice stage, will he write the name of the card he
pour out ontothe table. The top spots is thinking of on this piece of paper. Hand
of the dice are totalled. Saythe total is him the paper and pencil. You can then
fifteen, then fifteen cards are counted from turn your back while he is doing this. Ask
the selected heap and the fifteenth card, him to fold the paper and keep it in his
placed to one side, face down. The pencil pocket. Tell him to return card tothe
is then clipped to the card. Spectator opens pack, and when he has done this, control
paper and for the first time the thought of i,t to the top of the pack. Shuffle,keeping
card is named . . the pencil is raised and selected card at top. (This, if you are go-

4
ing to deal “seconds”, if “bottom dealing”,
control card to bottom) and lay pack on
the table. Recap what has taken place
and point out that he thought of any three
cards and that out of those he concentrated
onone. (It is importantthat you keep
emphasisingthat he THOUGHT of a
card),you’ll be amazedthatafterwards,
they’ll say “he didn’t ask him to pick a card
but only THINK OF one.).

Say ‘‘ Itisimpossible for any oneto

know the name of your thought of card.
However, the pencil you hold has magical
properties. You may not.believe this, but
I will prove it. Please cutthe pack into
l &/- 1
two heaps. Concentrate on your card and
with the pencil, push forward any one of
the heaps”.

If he pushes forward the one which has

the chosen card, say “ Right, we will use
that one”. If he pushes forward the one and myself to get a convincing and yet
which has not got the card, say ‘‘ You have easy-to-do count. We experimented with
pushed aside that heap, leaving this heap”. many weird and wonderful ideas, but think
indicate the heap containing card. Now this count is the simplest and most practic-
ask him to unscrew the pencil top and tilt al. We have never heard of , or read
the pencil. The dice pour out, and you anything of a similar nature, and we hope
get him to add the spots on the tops of the that you like it.
dice, then say ‘‘ We will count off that
number of cards”. If the total was; for 0 THE FALSE COUNT:
example eleven, then you second deal until
ten, and slide off the top card at eleven, or, Bring the selected card second from the
if bottom dealing, count off ten and bottom top. Hold the pack on left hand so that
deal at eleven. The chosencardislaid thumb lies along left side of pack. Ball of
aside face down. Assemble pencil and lay thumb on left upper corner. First finger
it on top card so that the clip of the pencil is curled under pack and the second, third
slides under the card, thus clipping it to andfourth fingers are curled over right
the pencil. Tell spectator to ogen paper side, Figure 1 .
and read aloud the name of the thought of
card and lay the paper on thetable for any- Take the top card and turn it face up on
one to see. Have himlift pencil, card pack. Separate that card and the card
comes with it, and turn it over, and it is of underneath, from the rest of the pack by
course, the mentally chosen card . . Truly means of the left thumb, or to put it
a magical pencil! simply, thumb count two cards. Take the
face up top card and the card underneath
0 METHOD No. 2. as ONE . . grip it (them) at the centre of
right side with the thumb and fingertips of
In this method, a simple false count is the right hand, Figure 2. Count this ONE
used, this false count is the result of a com- (let us saythe chosencard has to be
bined effort by my friend Dave Campbell seventh). Slide off the top card of the
pack with the left thumb, Figure 3, when ten on paper-pack cut into two heaps-
it is protruding halfway, flip the card face
one selected4ice from penciltotalled-
up on top of the pack with the card(s) say for example seven-take cards and say
held in right hand, Figures 4 and 5, then “The numberis seven, so we will count to
that number, but I will turn the cards face
slide the card on top of the card(s) held in
right hand and count TWO, Figure 6 . up so that youcanseeeach card”. Pro-
ceed with the false count until you have
Repeat four moretimes, counting 3-4-5- the six face up cards in your right hand.
6. Place the group of face up cards on top Drop them on top of pack, fan them and
of pack, the chosen card is now seventh say, “ Is your card here? It is not among
down. these six? We will placethemasideand
place the seventhcard on the table”. Place
pencil on card as in previous routine.
0 ROUTINE: --
Bring selected card second from top of NOTE: The Dicepencils can beob-
pack, then carry out the same procedure tained in most of the big stores, novelty
as in previous routine, that is: name writ- and gift shops.

THIS COLOUR CHANGE is an adaptation of a sleight

used for the Top Change. The title above is more than
just a catchy name because the effect of the change is greatly
enhanced when performed slowly.

The starting position for the change is that the pack is held
in the left hand with thelong sides parallel with the floor and
face outwards. The seccnd card projects over the left side
of the pack but only the index of the card protrudes and this
is covered by the ball of the left thumb (Figure 6).

The right handnow travels upwards pletely covers the pack, the leftthumb
over the face card and-immediately itcom- presses down on the protruding card and
Left .thumb <ogees 7 it springs to the position shown in Figure
7, being held in place by the left thumb.
The topcard snaps back onto thepack, due
to pressure of second, third and little
fingers along the bottom long edge.

Now as the righthand continues moving

upwards it clips the card, at right angles to
the pack, between the second and third
fingers as in Figure 8. It moves upwards
until well clear of the pack, the fingers of’
the hand being held slightly bent and the
third and fourth fingers separated ‘a little.
Apparently the right hand has just brush-
ed the face card.
 The right hand now comes down across Whenthe right hand haspassedover
the face of the pack and releases the card the pack, the card has changed.
as it passes the top edge, the left thumb
moving away to allow the card to slip into Perform it casually and it appears that
place on the face of the pack. The left the right hand has brushed the other card
forefinger assists infinally squaringthe off.
card onto pack as right hand is passing
over. -00-

B Y HUGH WYLIE

THERE HAVE BEEN many very ex- those tricks which are dealers’ props.
cellent silk items which have either (strangely enough they are all Unique!)
been marketed by dealers or described in but the other effects I will detail, but here
magicalmagazines-which many magic- again, I cannot be sure if any dealer has
ians would have liked to include in their ever marketed a similar effect or whether
programmes but have not done so, either the ideas came from seeing something in
because the effect was not strong enough a magazine.
to stand alone, cr that they couldn’t find
a corner to fit it in.
0 GENERAL EFFECT:
Many of the effects whichthe dealers put
on the market can, with very little thought The performer enters carrying a
be switched into an excellent item to suit chromium wand inhis right hand and
the individual if only a little thought was after flourishing this states that people
put in to perfecting the act. have often wondered why a magician must
use a wand- this, he explains, is very sim-
I was faced recently with having to en- ple-as a wand can be used in many ways
tertain a gathering at whose functions I apartfrom being a magical symbol. He
had been a guest artist on numerous occa- places the wand in his left hand and pro-
sions and I had already gone through most duces a piece of paper from his right-hand
of the effects I knew on previous occasions. pocket. This is crumpled upand placed
I therefore decided I would do a “Silk Act” on the wand and the audience informed
to explain how I had worked before. that the wand makes a good stand to hold
paper, moreover if you want to burn it,
The main theme was worked round that well, you can do so without burning your
evergreen andto my mind beautifully hand-at this point the performer again
effective trick, the ‘‘ Sympathetic Silks”. puts his hand into his right-hand pocket
and produces a pocket lighter with which
1 will only describe the actual effect of he sets fire to the paper-there is a bright
7

a e fwd held In L.H.
(VIo w e movement.
,d afsl\h & b U k f d : e d SllWJ ‘ln
n& end brought round fold draw- %3h? by
posstng aqatn 4hc < rmq.
flash and the performer is seen to be now
holding a wand from which hang, at inter-
vals, six fifteen-inch silks. The perform-
er looks at the audience andremarks,
‘‘ Well, it’salso useful to produce your
silks”.
Laying down the wand the performer
picks up six silks (use eighteen-inch as a
minimum) remarking-“ I performed an
effect last time I was hereusing six silks (if
“
it is your first performance say, I was per-
forming an effect last week using six silks,
etc.”). Most performers have their own
method of performingthe sympathetic
silks, but incase anybody is in doubt, I
8
will describe my o w n short routine (any-
body very bored can skip this part). The
performer continues, “ I counted the silks
separately and gave three to a member of
the audience to hold, having drawn atten-
tion to the fact that the bundle consists of
a blue, orange and red silk, whilst the per-
former also has a blue, orange and red silk
in his hand”. The performer continues, “I
then tied the blue, orange and red silks to-
gether” and displays them, then gathering
them up hands them to another memberof
the audience to hold. “ Now the funny
thing was that whenI tied one settogether,
the other set, which a lady had been holding
had also tied itself together”, as he is saying
this, the performer reaches forward and
grasps the silks held by the first spectator
and holds them up. ‘‘ I then untied a blue
silk and handed the lady back the other
two , still tied together. A still funnier
thing happened when I found that theblue
silk in the second bundle had also untied
itself, leaving the red and orange still tied”,
as he says this the performer takes the blue
silk from the bundle held by the second
spectator and shows it loose and then picks
up the red and orange tied together. The
performer goes on ‘‘ I then untied the red
and orange silks so that they were just as
1 started, but when I went to get the first
orange and red, they too had become un-
tied, leaving me with sixseparate silks.
Now some of the audience thought
that I had done something to the knots-
now I am going to show you tonight that
provided YOU have true, magical silks,
knots don’t matter and that the silks will
tie and untie themselves at the performer’s
command”.
The performer then holds up two
yellow
silks
which
he
proceeds to tie
together and to place them in his left-hand
coat pocket so that the ends are in full
view. The two blue silks are then picked
up and shown to be quite separate and
these are then placed in the right-hand coat
pocket. However, as the performer then
‘L
explains, These silks again will act ac-
cording to instructions” and then proceeds
 to remove the two yellow silks which are Lewis Canson’s “Birds of Burma”. This
now seen to be separate and then removes routine is followed exactly as Lewis wrote
.‘
the two blue ones which are tied together. it, more or less, with the idea of the birds
The performerthen goes on to say, In being taken from their perch, placedin a
case any members of the audience are still bird cage from which they escape, to be
under the impression that I have anything found hanging once again on the tree in an
to do with these knots, may I go one stage elaborate wire cage. I am afraid I make
further”.Hethen takes UP two large a rather dirty joke here by saying thatby
orange silks and two large white silks. being a “wily’’ person I had an idea the
These are counted quite deliberately and birds might escape, so I had left two cages
shown as separate by counting from hand on the tree into which they could fly.
to hand, and are finally placed in the left
hand with about four inches of the ends As occasions vary, I prefer to start with
showing above the fist. The performerthe “SilkenBombshell” as I always feel
then turns to amember of the audience and that with this effect you have the audience
asks them to tie any two silks together then with you from the start,obviously you can-
to tie two more and so on until the whole not use “Six Silks in a Flash” at the same
of the four silks are completely knotted to- time.
gether. The performer then asks the spec-
tator whichcoloursilkhe prefers andon If you start with the Bombshell, Silk
being told the answer he proceeds to slowly from Silk makes abeautiful recoverY-Pro-
withdraw the two coloured silksmentioned vided YOU have the same four coloured silks
from the left fist followed by the remain- in Ehhshell-as YOU Produce from the
ing two and shows them all as again separ- ‘‘Silk from Silk” effect-
ate silks, remarking “ The fact that these youcan round it offby saying “yousaw
silks weretied
all together by a member Of the of a red, blue
the audience does not have the slightest silk (or whatever you are using) from the
effect on the silks obeying the performer’s basket-wel] by merely waving this green
command. For instance, if I were to
silk a little-one of the silks appears tied
take three silks tied together, such as these, to the end--followed by another-and
which you will notice are red, white and another-and another*s.
blue.
~, with the blue
~~ tiedin the centre.
merely by a wave of the hands you will Since using this effect, HarryStanley
find that all three silks are now tied at the has put out three excellent effects by Mar-
centre whilst one more move finds the silks conickwhichcouldbe worked into this
completely change places with the white routine excellently. For instance, “Stret-
one now tied in the centre, actually these ching a Silk” and “Prisoner Silk” would
silks are three separate silks as you can make two excellent items which can be
see”. worked in as furtherextensions of “ Mysti-
fying Knots”.
I put in “Silk from Silk” by Marconick Obviously many other ideas will occur
by remarking “Silks are also very prolific to readers and it is surprising the number
as you can see” and work the effect of effectswhichyou do not quite know
$ 6
silently. Another interesting feature howto use which can be worked into
of silks, apart from their knotting is of effects dealing with a similar idea.
course that they will readily go from place
to place.” The performer shows the 0 EXPLANATION :
audience a stand on which a large yellow
and green silk are hanging and proceeds Figure A. This is Harry Stanley’s Six
to cover them with a newspaper. Cen Silks in a Flash by Marconick and is a very
readers will no doubt realize that this is good opener.

9
 Figure B. My set-up is to havethe and the knot slipped as explained in the
three knottedsilks rolled up (nottoo tight) Sympathetic Silk routine, when placing
with
the
blue silk outside. Theyare them in the left-hand coat pocket. They
placed on the table with the loose red and only go into thepocket far enough to actu-
orange first, thenthe roll of three, then the ally showtheportion where theknot
single blue. should have been,leaving three-quarters of
the silk hanging outside the pocket. The
Pick up the blue and place between the other twoblue silks are shown to be separ-
third and little fingers of the left hand, then ate (if they are picked up with the fingers
the rope of threebetweenthe first and and thumb over the magnet and knot,they
second fingers. Finally the two loose silks will resemble ordinary straight silks to the
between thumb and first finger. audience). These are shown one in each
hand and then transferred to the right hand
There is no danger of the knots showing, and placed into the left hand coat pocket
and a slight shake when they are in the in the same manner as the two yellow silks.
hand opens up the roll of three to hang A s soon as the silks are in the right hand,
naturally. the magnetscling together and it is merely
a question of showing the twoyellow silks
I hold up the line of three when I have to be untied andthemagnetsarequite
knotted them with the blueat the top, red strong enough for one end of a blue silk
in the middle and orange at the bottom. to be gently removed fromthe pocket,
I slip the blue silk as I fold them up, simil- bringing the other one “tied” to it.
arly when I undo the blue silk from the
knottedbundle, I hold uptheredand Figure D. For this effect four large
orange silks and slip the knot when I fold silks are required, twolarge orange and two
UP. large white, eighteen-inch is the minimum
size required. The silks themselves are
To slip the knot easily, I change hands perfectly normal but you will require four
holding the top with the right hand, the four-inch triangular pieces ofmatching
left hand takinghold of the bluesilk again, silk which are fastened to four tiny plastic
just on top of the knot to be slipped. The curtain rings, the rings should be bound
right hand holding the top corner of the round with apiece of silk material and the
blue, comes down in a folding movement triangular pieces firmly sewn on.
and grasps the red silk just under the knot
and continue to bunch the silks, owing to The end of a silkis doubled back, as
the left hand holding the blue silk above shown in Figure D, and placed over the
the knot theblue corner is slipped free, the loop, the end of the loop is then passed
wholemovementshouldblendinto one once round the silk and the doubled back
completemovement.(Diagram B.) portion is again passed through the
loop, which if pulled tight will securely
Figure C. Two yellow silks are requir- hold the silk and the ring together for
ed which are completely unfaked and two handling during the first part of the effect.
blue silks which are faked in that each silk These silks are all lying together on a table
has a small bar magnet in each corner with and are picked up with the left hand round
a small bow stitched to the end of the mag- the join and are
counted
into
the
net so that when the two magnets are in right hand singly and deliberately by
contact the bows give the effect of actual the right fingers, takingthe silks b-- the
knots in the silks. joins from the left hand. Three silks are
counted this way and then the fourth silk
The two yellow silks are tied with the is left in the left hand and the other four
usual reef knot andheld up in the left hand silks placed on top of it.The lefthand

10
closes round the joins and a member of the
audience is asked to tie all the ends
together, theresultant bunch of knots
is just packed into the fist with the fore-
finger of the right hand and it will befound
that the silks each detach themselves from
the rings without any effort being inserted.
Three silks are removed again, leaving the
fourth silk together with all the little
pieceshiddenin the left hand. The three
silks in the right hand can be then transfer-
red to the left hand and the whole lot
bunched up and placed back on the table.
In using Lewis Canson’s effect, I
did not wish turn to two of my
silks into the bag formation which he sug-
gests to hide the cages, but I found that if
I doubled the silks they would wrap round
the cages and hold into place with a rubber
band passed round the top cross bar, with-
outany difficulty at all. Two ordinary
silks can be used for this purpose. Not
being in the financial position of being able
to afford two Mervin Taylor, collapsible
bird cages, I made two up out of spring
wire, as described in a recent Abra (that
ought to be good enough for Coodliffe to
give Harry a free advert in Abra) .

IMPROVEMENT FOR THE “KNIFE ANDSQUARE PAPERS”

BY JEAN GARLES (FRANCE)
MOST CONJURORS KNOW how the You continue with trick as usual, doing
trick works, so I only give you my the same sleight with the second and the
improvement for this trick. third piece of paper.

Hold the knife in the right hand in the I have performed this trick to my good
usual way. friends Fred Kaps, ChanningPollock,Fred-
dy FA,Charlie Carts etc., and they were
When taking away thefirst paper on the enthusiastic. I consider this trick as a
side of the blade, have your left first finger good intimate one, to fool magicians.
moistened and keep this paper attached to
this finger, when simulating throwing this
paper away.

Turn the right hand and the knife at the

same time, to show the other side of the
blade (in reality the same one) but quickly
put your first left finger, with the paper
square stuck to it, at thesame place on the
blade where the paper is missing, sticking,
at the same time, his paper on blade, say-
ing:
66
I also takeawayone paper on the
other side of the blade” . . . crushing and
throwing away the paper you took off the
blade.

This sleightgives the impression that

you really removed another piece of paper
from the other side of the blade, and that
on both sides only four papers remain (two
on each side).
I1
 Spread the rest of the pack face-up on the down , stili face up on A. This is repeated
with the three other packets and at the
table to show that there are no more faces
finish the four packets, each of three cards,
in the pack.Close the pack andput it
face-up to the left. Close thefourfans are again as shown*
leaving the lay-out as shown, C being the
Aces :
A B C D
while the spectators assume that there is
A B an Ace in each packet. Actually the four
Pack C D Aces are on the bottom of the pack. The
pack is now cut in four packets, each with
Put A on C, then both on B, then all on an Ace on the bottom. This is done, using
D. Turn the packet of sixteen cardsface a sleight which I will call the Bottom-slip-
down, and deal them out, one for one, in cut (described at the end of this explana-
four piles, A, B, C and D, in a row like as tion). Turn the four packets face down,
shown. so that the Aces will come on top, and re-
spectively behind the packets A, B, C and
Pack A B C D D.

Ineach face down packet the second

card from the top is an Ace.Now turn
them all face up when every thirdcard
down will be an Ace. Put A on the face-
up pack and take this face-up in the right
hand in preparation for the Biddle Count.
Slide off the four cards, one by one in the
left hand when the third card will be an
Ace and this must be shown very clearly.
At the count of “four”, the third card is
“Biddled”. You are left with three cards
in the left hand (audience thinks it’s four,

12
 The Aces are now commanded to jump
from the small piles to the top of the large
piles behind them. Turn over the Aces on
the large piles and spread the small packets
toshowthat they consist of only three
cards (see Figure 1 ) . Finally turnthe
four small spreads face-up, toshowthe
Aces have vanished.
BOTTOM-SLIPCUT. --
Take thepack in its dealing position well
forward in the left hand. Curl the right
fingers in front over the cards and put the
right thumb against the back short ends at
the left. The right thumbnow riffles
about a quarter of the cards and keeps the
break, while the right fingers contact the
bottom card. Right hand is now moved
forward with the top quarter of the pack,
taking or slipping the bottom card with
them. (See Figure 2 for a side view:)
The sleight is easy and you’ll find you’ll
be able to do itat first trial.
This slipcut isalsopossible as a side
slipcut .
2. ALL EXCEPT THE ACES
During a previous trick get the two black
Aces on the top of the face-down pack.
Fan the pack face-up, extract the two red
Aces and throw them face-up on the table.
While asking a spectator to put the Aces
face-down, get a break with the left little
finger under the two black Aces. Turn
the rest of the pack face-up on the two
face-down black Aces. (See note at end.)
Put the face-up pack on the table and cut
it in two heaps.
A B
A being the original bottom one with the
black Aces face-down on the bottom. Put
one of the two red Aces face-down on A,
but injog it for about three-quarters-of-an-
inch. Put the other red Ace also face-
down on it, outjogging again as in Figure
3.
Put the other half B on top andtake the
whole in your left hand like in Figure 2,
which is an exposed view. The pack
should be held face to theaudience and the
long sides parallel to the floor. The right
hand covers the face-side of the pack and
the left first finger contacts the short side
of the backred Ace. (Figure 4.) You
‘arenow going tomakethe well-known
colour change move. The left first finger
pushes the after partof the pack, including
one of the red Aces (the one contacted
with the left first finger) into the crotch
of the right thumb, where it is gripped and
moved away in the same direction. As
soon as it is clear of the front part, it is
returned in front of it. While this is done,
the first finger of the left hand pushes the
other red card flush with the pack.
13
 these two face-down cards in the middle
are the red Aces, but such i s not thecase . .
. . look”. Turn the two middle cards face-
up and show theblack Ades and after that
the two end cards, to show the red Aces.

REVERSING THE TWO TOP CARDS

Keep a break with the left little finger
under the two top cards with the pack in
dealing position. Cover the pack partly
with the right finger, the thumbatthe
rear end, contacting only the two top
What happens is that YOU cut the pack cards. The third finger contacts these
between the two red Aces, but the spec- two cards atthefront. Now, with the
tators think that you merely covered the left hand, turn the whole pack round and
pack and pushed the red Aces flush with it. Over the two cards, so that it lands face-up
on them. It should be casually done, just
Don’t remove the right hand yet, or the as if you simply turn the whole pack face-
audience will see the back of a card instead up. (See Figure 6.) Itis a simple and
of a face. Turn the left hand so that the
pack is facing to the left (i.e. so that the
end of the pack is towards the audience).
Nowrecap on what hasbeen done, this
is that you have put the red Aces reversed
in the pack.

While you patter, the audience will have

forgot which waythe cards are facing.
You continue:“Thefunny thing is that
now forty-eight cards are face-up except
the two end cards andthe two middle
cards”.

As you finish speaking, spread the whole

Pack in a ribbon on the table (see ‘W’‘ easy move and moreover the attention is
5)* Continue, might think that on the two red cards, which areturned over
by a spectator at that moment. This gives
you ample misdirection.

3. ACES TO THE TOP

Fan the pack face-up and take out the
red Aces. ,Put them next to each other,
face-up on the table. While doing this,
contrive to get one black Ace tothe bottom
and the other black Ace to a position third

14
from the top of the face-down pack. The
best way to do this is spread the cards and
cutthe pack, two cards above the first
black Ace you see, then look for the red
Aces. While putting these on the table,
get the other black Ace to thebottom of the
pack. The audience, of course, must not
be aware that you have positioned the
black Aces. Alternatively the blackAces
could be brought to the required position
during the conclusion of another trick.

Hold the pack face-down in the left hand

and without changing their order, thumb
off three cards and put them on the red face-down in the left hand.
Aceonthe left. Do the same with the
next three cards, but before putting them Make a double-lift to show a red Ace.
on the other red Ace, casually show their Return the two cards as one to the top of
faces (Figure 7). the pack and thumb off the topcard (black
Ace) face-down onto the table to the left.
Pull out the two red Aces and put them Put the next three cards on it without re-
on the topof their respective packets, turn- versing their order.
ing them face-down in the process.
Now repeat the process with the next
Place the left hand packet on the right four cards. Unknown to theaudience you
and the eight cards on the top of the pack. now have the two red Aces on the top of
Separate the bottom card from the pack the packets instead of on the bottom, while
with the left little finger and double-under- the black Aces are on the bottom. Com-
cutthepack, bringing the bottom card mand the red Aces to rise to the top, and
(black Ace) to the top of the pack. The after showing them, reveal the black Aces
order of the eight top cards from the top is on the bottom.
as follows: black Ace, red Ace, two in-
different cards, black Ace, red Ace andtwo Continue with your favourite Four-Ace
indifferent cards ; . the whole pack being trick.

TR-ANSPO .COINS - - - - - - - - B Y RINK

. .
* T H EEFFECT HERE is that four coins American cents of the 1943 issue.
.
The
are put into the left hand and a mo- wand has two strong magnets; one at each
end.
ment later are allowed to fall from .the right (See sketch.) My wand is ten
hand. Both hands areshownempty. inches (26cm) long and a little less than
half-an-inch ( 12mm) thick.Itis just a
plain stick of natural wood-unpainted.
Requirements: Four Smallcoins and The magnets are very strong andcylindric-
a specially prepared wandare required. al, measuring one-and-three-quarters of an
The coins must be 'of the type that are at- inch in length (45mm) and five-sixteenths
tracted to magnets, that is, Dutch quarters, of an inch (8mm) in diameter. The illus-
German 10 and 5 pfennig pieces and stration will show the arrangement.
15
 0 PERFORMANCE: 1 . The hand
is extended with palm upward and the four
coinslaid on it. Itis best to place them
in a small square, without overlapping.
Once you get the feel of the moves, the
coins can be placed in almost any position:,<
on the palm. The wand is laid across the
palm so thatthecentre of thewand is
between the coins. Two coinswill then
be to the left and two to the right of the
wand. (Photo 1 .) The wand is lifted

4. Once again the right thumb tip

movesthewand through the left fist
(Photo 3 . ) . The wand slides along the

just once, to draw attention to the coins,

then laid back in the same position. The
hand is now closed in a fist around the coins
and wand, which protrudes for the same
length at each side of the fist.
2. The tip of the right thumbnow
presses the wand through the fist, till the
inner end is near the left little finger, with
most of thewand protruding fromthe
other end. Coins stay in thelefthand,
of course. (Photo 2.)
3. The left fist is now turned over with
the knuckles up, so that the wand again
protrudes at the performer's side.
coins, till it protrudes from the little finger
side and away from the performer. The
left fist is still with the knuckles up. You
can now feel the coins in the hand adhere
to the wand.
5. Right thumband first finger-tips
now grip the wandat a point about an inch
away from performer (Photo 4.). Under
cover of the right hand, the left fist opens
sufficiently to allow the wand andcoins to
pass. It moves away from the wand and
coins, while the right thumb and first fing-

16
 er of the right hand pivot the under part now taps the left palm (Photo 6 . ) .
of the wand inside the right hand, which
closes around them. A s soon as the wand 7. The fingers of theleft hand grasp
has left the left hand; this hand closes. The the free end of the wand, pull it out of
right hand now taps the back of the left the right hand and put it on the table. The
-hand with the wand. (Photo 5.). All coins of course, have stayed behind in the
the foregoing moves must be co-ordinated closed right hand.
in one continuous and flowing movement.
The coins are now transferred. 8. The coins are now dropped from the
right hand, one at a time, onto the table.
6. The left hand turns round and the (Photo 7.)
right hand taps the left wrist with the free
end of the wand, somewhere in the region The wand and the moves described will
of the pulse. The left hand opens to be found useful for effects with other small
show that the coins are gone. The wand metal objects.

0 Subraibeto
HUGARD'S "MAGIC MONTHLY
HERE'S MARVELLOUS MAGIC - CLEAR - COLOURFUL -COMPLETE
Now ip its sixteenth y a r of publication. Subscription $5.00. per year.
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17
 B I L LM I L L I C A N ’ S

“ R E C O R D HOP”
AND

“.FLYING S A U C E R S ”
1 HAD THE’pleasure of meeting Bill ‘* Record Hop” from which the drawings
Milligan at the Scottish Association have been made by Dennis Patten.
of Magical Societies Convention in I 956,
when he was President of the Kilmarnock Both routines are fine examples of how
Magic Circle. Bill’s charming wife is an effect can be completely re-dressed to
Australian and they are now “down under” add novelty and create interest.
where Bill teaches at the Church of Eng-
land Grammar School. As a side-line, he 0 1. RECORD HOP :
has a weekly puppet show on Children’s
Hour Television from Brisbane and This is an adaptation of ‘‘ The Sympa-
additionally has frequent close-upmagic thetic Discs” but using miniature records
appearances on the three T.V. Channels. instead of discs. I suggest that the records
are made from Poker Chips, although the
ones sent by Bill were actually record tok-
It was a great pleasure recently to re-
ens issued by Readers’ Digest in a special
ceive the following two effects from Bill-
offer of records to their readers. The fol-.
both based on the-moves explained in my
lowing is thepatter with the various
“ Sympathetic Discs” (Routined Manipu-
moves mentioned where they occur.
lation Part 2, page 85). He also enclosed
These moves are exactly as in the original
a beautifully made set of the records for
‘‘ Sympathetic Discs” routine.

18
19
infant psycophant, andTerryTrog,the sensational ! The label is green and you’d
teenage tubercular tonsiled terror. have to be to buy it. (Place disc in posi-
tion 4.)
Kids no longer attend dances, they go
to record hops where an orchestra is an These are two M.P.’s . . . medium play-
optional extra. ers to be used for covering up the others.
now there’s a good idea !
Let me demonstrate exactly whata
record hop is. Which two should I cover? They’re
all equally putrid. (Covervarious com-
Imagine that this handkerchief is a dance binations, finally liftingandturning the
floor (spread out hank.) and imagine that blue disc .. .
No. 2 . ..
and placing it with
what follows represents music. (Produce ( 1) covered by the “ Top Twenty Pops”
records stackedin order and in folders). card. )

These are some of the newest S.P.’s . . . (This leaves the “ Songs for SS.” card
short players which is a darngood thing . . . coveringnothingatposition (2) as per
by some of today’s leading parasites. normalroutine moves. NOTE-the two
cards should be turned facing the audience
Have you heard the ‘‘ Ratbag Rock”? so that they may read them. This is im-
(show first disc). Surely you know Slats portant at end of the routine.)
Maloney, the abbatoir attendant who made
good. This discis currentlyseventeenth Now, let’s watch a record actually hop.
in the top ten. Slats releases on red label. Here’s Johnny Crumb. We slip him
The colour is appropriate as the whole under the dance floor and like a termite,
thing is pretty b . . . y.(Place disc in he gnaws his way through to join old Slats.
position (1) with cover off hank, beside Boy! . . . these two would really sound foul
it.) together. (Duringtheabove,work first
transference, and show that the disc has
Suzy Slopbucket’s newest is really some- hopped. Add third discbelow card as
thing . . . actually I can’t decide just what usual.)
. . . but something. Suzy, the vital vam-
pire, releases on bluelabel,which just Now, if I do the same with Fred Bogg,
about matches the material she perpetrates. we should have just about the most indes-
(Place disc in position (2) with cover be- cribable trio imaginable. (Make second
side it.) transference, show and
add last disc as card
is replaced.)
This is theJohnnyCrumbQuintet’s
latest bit of dietary diabolism. It only sold Far be it from me tomanhandle a lady. .
a million because of its cover . . the actual er, even Su’zy Slopbucket for that matter.
statistics of the disc are zero, zero, zero. I’ll make her hop by remote control. And
,Johnny’s yellow label matches his person- there they are together . . . the only people
ality and his teeth. (Place in position 3). fit tokeep company with the sortof people
they are.(Maketheappropriate passes
Fred Bogg’s piano medley is a thing to and lift both cards &owing four discs at
dream about . . . for any normal psychiatric position 1.)
case. Fred “Knuckles” Bogg they call
him around the gutters and opium dives. And if I may add,in the words of almost
Fred has a gimmick . . . like, ya gotta have any modern teenager . . . (turn both cards
a gimmick, man . . . Fred has knife-edged over inwards and lay them down to read)
fingers and plays between the keys . . . . . . DIG THESE CRAZY DISCS!”

20
 The above is only an outline of the sort The handkerchief is replaced by a square
of patter Bill uses. He says it varies with of blue felt, embroidered with a flash in the
any nonsense he thinks of on the spur of centre and acoloured planet at each corner.
the moment. Just let yourself go on the
subjectof modern music andthe disc The cards arefreeform in a cloud shape
mania. to painted and resemble clouds.

The patter goes on the lines that wesel-

0 2. FLYING SAUCERS : dom see flying saucers because they travel
behind clouds, but if a call comes out from
In this version, fouraluminium discs, universal space control, they travel very
penny-sized, are used to represent Flying fast-by magic, in fact. The moves are
Saucers. Each has on it a small coloured just as usual.
blob-likecreature-red, blue, yellow and
green asthe colours are in the normal This is very successful with children,
arrangement.These represent Spacemen where the original discs were perhaps too
from other planets. academic in their appeal.

A NOVEL B O O K T E S T
BY CORDON PRUNTY

SORRY! No Pun intended,butthe number has been decided upon, he can

following book test will certainly have no idea as to any word likely to be
be found something of a novelty. This is denoted by any given number that may
the effect:- happen to be selected. He then proceeds
to have a number chosen and in order to
The mentalist hands out three books for do so, he produces a pack of cards each card
thorough inspection. Thesemay be any being shown to bear a different number.
kind of book such as a novel, a book of Each number consisting of two figures for
poems and a small dictionary. When the a purpose to be seen later. Having shown
spectators are quitesatisfied that thebooks the cards to be all different, a spectator is
are just ordinary and unprepared, the men- requested to decide upon a number not too
talist states his intention of having one of large, saybetween oneandten.This
them freely chosen, but before doing so he number of cards is then counted from the
will have someone first select the number pack and the card arrived at is handed to
of the page to be used in the test, no mat- him. The number on the selected cardis
ter which of the three books that happens not to be made known to the mentalist but
to be chosen. This he declares, proves only to thesecond person who is then call-
that since he has no preknowledge of which ed upon to select the book. As mentioned
book is to be used until AFTER the page earlier the book is freelv chosen, this being
21
done by the second assistant,who then counting off the pairs until the required
opens the book at the page denoted by the single card is arrived at.
number on thecard whichhas been handed
to him by the first helper. As stated If desired, the face number on each card
above, each card bears a double number, may also be written on the back of the
and for this reason: The double number second card, but this is not really necessary
denotes the number of the page to be turn- as will be shown later. Eachbook is
ed to, then by adding the two figures to- known by its number as 1 , 2 and 3, this
gether,thewordfound at thatnumber also applies to each word on the backs of
from the top of the page is the word to be the cards. The words should be written
used in thetest. For example : say 45 very small so as notto be seen bythe
was the number on thecard that was chos- audience, and the backs of the cards kept
en, then the selected book is to be opened away from them afterthetop(chosen)
at page 45. These two figures added to- card has been takenand handed to the
gether result in 9, so the 9th word down selector.
fromtop of the page is theword to be The words onthe backs of the cards
noted by the assisting spectator. The must of course, agree with those in each
spectator is asked to concentrate upon the book, for example: take a pair of cards
word arrived at, and, after a few seconds bearing the number 36, thenthethree
on his own part, the mentalist takes up a words on theback of the second .card of the
slateand writes somethingon it. The pair would correspond with the words on
assisting spectator is then requested ,to page 36 of each of the three books, thus:
reveal the chosen word, on which the slate the first word being the ninth word onpage
is turned round to show that the very same 36 of book number 1 . The second
word has been written by the mentalist! word the ninth word on page 36 of book
number 2, and the third word the ninth
It is quite possible, but not advisable, of word on page 36 of book number 3.
course, to repeat the test several times,
each time with a different pagenumber To save further unnecessary explanation
and word. Some preparation is necessary, let us see what really happens during the
but once this is done the pack of numbered performance of the test. We will sup-
cards is always ready for use. Itis actu- pose that the first assistant’s card bears the
ally a form of rough and smooth forcing number 56, (this may notbe known to the
pack. Each pair of cards is in duplicate. mentalist unless of course he has the num-
Viz., two 4 5 , two 18s, and so on. On ber on the back of the card as mentioned
the back of the second card of each pair is above), andthe second helper selects book
written three words, the words being differ- number 3, then by glancing at the back of
ent on eachpair of cards ; this gives a the top card left on the pack, the mentalist
choice of 26 different page numbers with knows that the third word is the word he
the added possibility of any one of 78 has to write on the slate. Had book num-
words being available for the test. But ber 2 been chosen, then he would know that
do not be scared of this. There is nothing the second word on his card is the chosen
for the mentalist to worryabout. The word, and so for book No. 1 , the first word
cards do all the work. He simply gets his being the one. This applies to all the cards
information from the back of the card left each pair having its own set of three words,
on top of the pack, the topduplicate having written on the back of the second card of
been given to the chooser. each pair. A s mentioned earlier the men-
talist need not know the page number, he
The card is chosen in the same manner is only concerned with the number of the
as when using a rough and smooth forcing book chosen and the word that goes with
pack, by having a number called for and it.

22
 To make things a little clearer (if pos-
sible), say thechosen card bears the num-
ber 48, and book No. 2 is selected, then
the mentalist would know that the second
word on the back of the top card of the
pack will be the 1 2th word down on page
48,but he ignores this and simply writes
the second word onthe slate. If book
No. 3 was chosen, then the third word
would be the 1 2th down on page 48,and
so with book No. 1 , the first word being
the 1 2th down on page 48.
Itwill thus be seen that the test may
be repeated several times, each time with
a different word and page number, since
there are no less than 78 different words to
choose from.
Simply replace the chosen card on top of
the pack and it is again set for the next
performance.
There is just one more thing and that
is, it is not necessary to roughen the cards
all over. Just under half-way will be
found quite sufficient.

written on thecard.

0 REQUIREMENTS : person gets the faked envelope. Tell the

first person to write the word “heavy” on
Five visiting cards, five envelopes, and
fivepencils. One of thepay envelopes
is faked as follows. If you examine a
pay envelope you will see that the back
seam overlaps the right hand half, so you
steam one envelope open at the back and
then stick it down again so that it will over-
lap the left hand side-see Diagram. You
will now be able to tell the faked envelope
from the others, by rubbing your thumb
over the seam.

0 METHOD:
Give a pencil , a card and an envelope
each to five persons and see that the first
23
his card and then seal it upin his.envelope. 0 REQUIREMENTS :
Tell theotherfour persons to writethe
word.“light” on their cards and seal them A large.three-section easel, as shown in
up in their envelopes. Now have some- Figure I . On the side of each section
one collect the envelopes, mix them up and strut, asmall curved piece is glued near the
hand one envelope at a time to you behind top-see Figure 2. This small curved
your back. Pretendto “weigh” each piece keeps the cards a quarter of an inch
envelope, locate the fake oneand throw or so off the back of the easel.
the other four on the floor. Say “I think
I have found the onewhich is heavier than Youalso require fivecards to fiteach
the others”, and hand it to someone to open section of the easel, which are white on the
and read out the word ‘‘heavy”. front and white on the back with a black
border and numbered as shown in Figure 3.
A small curved piece is gluedto the top and
A S T A G E TRIPLE bottom of each card, on the black border.
PREDICTION Card No. 3 is unprepared. If you were to
assemble the cards now, there would be a
This Triple Prediction is really meant for space of a quarter of an inch between each
a stage or platform and you can go right card-see Figure 4.
into it without waiting for members of the
audience to come up and assist you. The You also need a large slate or piece of
effect is (asusual in such effects), that you black board, a piece of white chalk and a
predict threeitemson three numbered piece of black crayon and anyforcing pack
cards, then turn the cards round showing of cards.
your predictions were correct.
0 PREPARATION :
One of the three items will have to be
forced and to makethings easy we will say
it has tobethe“Ace of Clubs”. Write
“Ace of Clubs” with the black crayon on
card No. 3. Nowplaceall the cards into
the easel, number sides showing, in the fol-
lowing manner :
Card No. 1 in Section One ;
Card No. 1 in Section Two; and on top
of this,
Card No. 2 ;
Card Numbered 2 in Section Three, and
on top of this,
Card Numbered 3.
The spectators see an easel with cards
numbered I , 2 , 3 .

Have the large slate or board standing

against a chair, the chalk and crayon in
your pocket and any forcing pack that will
force the ‘‘ Ace of Clubs”.
24
0 METHOD OF WORKING:
In an effect of this kind, I think it best
to leave the presentation to yourself, so I’ll
just explain the routine. Take Card No. 1
from Section One of the easel and tell the
spectators you are now going to write a
prediction. Pretendto write something
with the black crayon, and then replace the
card, numbered side out, into Section One.
Now pick up the large slate and the chalk
and ask someone to name anytown. When
given this, write it on the slate with the
chalk and lay it aside. Pocket the chalk
and pick up your black crayon again.
Take the two cards as one from Section
Two of the easel, saying youwill write
another prediction, but really writethe
name of the town. If Wiganwasthe
chosen town, write Wigan. Replace this
card(s) into Section One, but see that the
card already in Section One goes between
the two cards. You now see the reason for
the glued on pieces.
Ask for any colour to be named, and
write it on the large slate with the chalk-
we will presume “Blue” was given. Pick
up the two cards as one from Section 3
and say thatyou will write another predic-
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tion. Really write “Blue” andthen slip
the card(s) down into Section One, mak-
ing sure that therear card marked “2” goes
between the two cards already there.
Use your forcing pack in any way you
wish to force the Ace of Clubs”.
“
Write ‘‘ Ace of Clubs” on the large slate.
Now to reveal the predictions. Saying
“we will take No. 1 first” withdraw the
two cards at front of the easel marked ‘‘ 1 ”,
turn them round andshow ‘‘ Wigan”.
Check this up with the name on the large
slate. Replace thetwo cards in Section
Three, writing side out.
Now say, ‘‘ We will take the second pre-
diction”. Withdrawthe two cards mark-
ed “2” and show the front withthe predic-
tion ‘‘ Blue”. Check this up with the large
slate, then remove card marked No. “3”.
Turn it round, show ’‘ Ace of Clubs” writ-
ten on it and check this up with the large
slate. As this last cardis unprepared,
handle it freely to make the best of it. At
the finish all the cards should be name side
out in the Sections of the easel.
For repeat shows, you would have to
stick fresh paper on the two cardsused
each time.
to the 1.B.M
Write for detail8 and application form to :-
1NTERNATlONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton, Ohio, U.S.A.
or W. G. STICKLAND, The Wand”,
Dudsbury Crescent, Ferndown, Dorset.
h u a m or Tottenham Court Road, Tube Station --
-
25
 A LIVELY
CORPSE
SOME TIME AGO rumour mongers
“killed off” Channing Pollock with their
tongues.
We had letters from Over
the asking if it Were true * * haPFilY
it was
Now it’s our turn . . a gentleman by the
name of Joe Wildon writes in a German
magazine that when in London he heard
from “well-informed sources” that wewere
ceasing publication. Poor old Joe, you’re
peddling round dud information. Neither
4‘
you, or your well-informed sources” can
kill us with “rumours”. With this number
the GEN starts its SEVENTEENTH vol-
ume andthis “corpse” is feeling very lively
indeed !
THE BIG STICK
A couple of months ago, the Council of
the Magic Circle fired the first salvo in the
magic battle of the century,in the shape of
a letter to all other clubs using in their title
the words “Magic Circle”. I t started off
with well-reasoned arguments as to why
they considered it wasverynaughty of
others todo so and said that it wasreaching
such proportions, that “action” was need-
ed to ensure its exclusive use to them only.
This “action” was thethreat to consider in-
troducing legislation which may preclude
any member of the Magic Circle from per-
sonal connection with any such society,
either as a memberor in an executive, hon-
orary or advisory capacity or performing
or lecturing at any function arranged by
such a society.
Them’s fighting words indeed, pardner!
Circle membershave only just been
given these details and many wonder why
they were not given a chance to find out
what it is all about before the battle com-
menced. A great manyare members of
these provincial “circles’*and feel that they
26
have been well and truly put“on
the
mot”.
as they are now seeminily obliged toA per:
suade their local friends to change title . .
not an easy task if they have had it many
years (for instance in the case of Ports-
mouth, nearly 25 years!)and if theysay
‘L
nay” he must either resign and break off
I
all magical contact with magiciansinhis
owntown, orbe “drummed-out” of the
circlelike a naughty little boy. A very
pretty kettle of fish.
Provincial chaps have also had their
backs put up by the suggestion in the “let-
ter” that the “public consider that member-
ship to theMagic Circleto bethe hall-mark
of the magician”. The “inferiors” in the
provinces, wonder what sort of a Gallup
Poll the Council employs to make state-
ments like this, with such certainty.
Correspondents report deep resentment
among magicians all over the country by
this high-handed action . . many of the
recalcitrants have already said “nay” . . .
What is proposed to do with them . . send
them to the Tower of London for execu-
tion?
For my part, asI said last month . . it all
seems a bit potty . . it’s rather like using
a steamroller to crack a nut. As a member
of the Circle, I would have hoped that our
Council would have shown a little more
dignity, and been above this “big stick to
little boys” sort of nonsense. Lots of
provincial magicians think the Council a
stuck-up lot of stuffed shirts . . this will
only harden their opinion.
CHALLENGE TO A DUEL
Our Midland correspondents inform us
that members of Britain’s oldest Society . .
The British Magical Society are challeng-
ing, to a duel . . with Card Swords
(Unique,wehope) . . any other British
club, cads enough to use the words “Magic-
al Society” in their title . . so there!
 SCOTLAND FOREVER
As usual Frederica and hismagical
“Night Owls” lived up to their name and
met Ken and I, at the crack of dawn, and
helped to make our Glasgow Film Show a
real cracker. Grand to see Johnny Ramsay
who, despite his great age andnot too
good health, travelled a long way to see
us. A wonderful man . . and magician . .
stillin great spirits! Ken was in superb
form once again proving to be the supreme
British close-up performer.
A BIG BOUQUET
to the Magic Circle Council for insistence
that intending members take a proficiency
test before attaining full status. A pleas-
ant change from other days, typified by a
story told me by an old Council member
(not now sitting).He assures meit’s
true, and from my own knowledge, it is!
A committeeman put forward a name for
membership. “Is he a reasonably good
magician . . . . has he any magical know-
ledge?” he was asked. “I’m not too sure
about that”, he replied . . “but one thing
I can assure you . . he is a gentleman”.
PIRATES AHOY
Last month I reported on pirates at work
on our “Black and White, Elusive Hippity
Hop Rabbits” . . this month itis one of
‘6
these new eager-beaver” young dealers
who advertises a stunningnew miracle,
“Maverick”. By coincidence ( ? ) it is the
same effect as one we have been selling for
years . . Dai Vernon’s great favourite . . .
“Jackpot Cards”. I sent both tricks to
Ray Fabian of “Abra” for his opinion. He
agreed with me, saying this sort of thing
was increasing and thatwithin twenty-four
’ hours of receiving my letter his attention
had been drawn to another glaring exam-
ple.Itis only with the co-operation of
magicians generally, that it will be stopped.
SHAME ON YOU
London magicians ought to be ashamed
of themselves for not giving more support
to that nicest of nice chaps Robert Harbin
who on April l st was advertised to present
at the Royal Festival Hall, “One Man’s
Magic”. Peter Warlock reported that it
was a unique occasion, for to thebest of his
knowledge no other magician hadappeared
at this great hall. Also it must have been
many years since a one-man show with just
a single performance was staged. Seating
was being specially arranged for the occa-
sion. Goodliffe gave notice of the show in
66
Abra” but, to the shame of London magi-
cians it didn’t happen . . the performance
was abandoned owing to lack of support.
What a pity it wasn’t a real “Unique Occa-
sion” . . I bet I could have filled the joint.
In case any Midland chaps look down
their nose at the London stay-awayers . .
they were just as bad when Harbin was put
on for a one night show at Stratford-on-
Avon a couple of weeks ago with Fogel
(who was in great form, I am told), clos-
ing the first half . . was poorly attended.
I hope that the Magic Circle fare better
when they branch out in May with a week
at a theatre in Westcliffe-on-Sea.
Spate of magic on Television has
brought forth many cries in the magical
press that it proves the public want
magic shows, andwhat about it? Bud-
ding magical impressariosare hereby warn-
ed to tread lightly . . it’s not as easy as you
think!
IT ’AINT WHAT YOU DO
BUT THE WAY THAT YOU DO IT. . .
a commonplace saying, but regretfully, not
practiced often enough. Happy to report
though, that many magicians write to say,
that thanks to my continual nagging, they
are paying more attention tothe actual per-
formance of their tricks, and would I give
more of my tips and experiences. Well,
I learned a lot from things that happened to
me in the past, and I hope that in telling
them to you, you may be able to re-think
your own attitude to magic, and improve
yourwork. One of the greatest lessons
I ever received was administered many
years ago by an Internationally famous
artiste Giovanni. I had naturally heard of
him, buthad never met himpersonally, and
was naturally verythrilled when I saw that
he was in the “calls” to play with us at the
Empire Theatre, Sheffield. At that time,
there was hardly a theatre in the country
where theback stage boys and artistes, did-
n’t greet me on a Monday morning with
“show us a trick, Harry” . . they all knew
me as an enthusiastic “doer of tricks” . .
particularly the chaps inouract, with
whom I had been a couple of years.
Although I say it myself, I was pretty good
at the close-up stuff. This particular
morning I wasn’t at band call, only arriv-
ing at the theatrein time for the first house
. . the boys startedonme . “You call
yourself a magician? Yououghtto see
the chap on the bill this week . . the pick-
pocket act . . Giovanni . . he does real
magic , etc., etc. He didn’t do magicin
9,
his act, but had obviously been showing
them a few tricks during the day . . and
knocked them for a loop. As soon as the
show was over, they rushed me round to
his dressing room . . ‘L come on G.”, they
said, “show this fellow a thing or two”.
So Mr. G. modestly obliged and sent me
into the corner with a pack of cards, from
which I was invited to select one, remem-
ber it, return it to thepack, square it up . .
and give back to him. After going into
a suitable “trance” he slowly and impress-
ively revealed the nameof the card selected
under these seemingly impossible con-
Isn’t that marvellous . . you had
‘6
ditions.
the cards in your own hands etc.,etc.” they
said. Naturally I agreed, but thoughtto
myself, either this guy is very good or he’s
kidding them with“nothing”. So, when
persuaded to repeat it in a different way . .
I madesurethat he couldn’t do what I
thought he was doing. Sure enough
when he started to “reveal” the card . . I
knewinstantlythathewas going to be
wrong . . so I stopped him immediately
asking him to be excused as I had “just
come off the stage . . that my mind was
not very clear, and would he bekind
enough to showmethe trick later” etc.
. . I didn’t want to make a Charlie out of
him. I really owed him a great debt of
28
thanks for teaching me that good presenta-
tion far exceeded in value, the actual trick-
ery. He had in a few minutes shattered
my reputation with the boys, with one of
the oldest and corniest methods known to
man or beast, in magic.Believe me, it
set me thinking and from then on, I used
to look at my magic with different eyes.
‘I
G” later gave me many other important
“lessons” in showmanship and presenta-
tion for which I have been ever grateful.
Another thing to learn from the above
story is that if a magician ever shows you
a trick in front of laymen . . never show off
your own cleverness . .be modest and help-
ful to him. And that goes too if someone
comes up to you and says, “did you see that
chap on T.V. last night? . . the thing he did
with those cards” or “that book thing” . .
don’t for goodness sake say “oh, I do that”
. . and try and make out that you are as
clever or as goodashim (although you
may think so). Reply . . yes, it was ter-
6‘
rific. But don’t offer to duplicate it there
and then . . even if you can. Remember,
there is always another occasion you can
show it to them . . and they will give you
credit. Don’t bash itdown their throats
and decry a fellow magician.
THRILLING NEWS
Just had news from Dai Vernon that our
dear friend Fawcett Ross is keeping Dai’s
nose to the grindstone working on some
wonderful new material for a great new
book of general magic. Copy is being
rushed to me and we’ll get on with it as
soon as possible.Magiciansall over the
world will be thrilled to bits at this news . . I
am!
All the best,
HARRY.
P.S. - Also has some mouth-watering
news about forthcoming super American
issue for the Gen. One of the many good
things we have in store for you in this new
volume.
 “Unique“ TABLES
We have long been famous for our Magic Tables, and think
it important that every magician has a proper Magic Table
and not to reIy on borrowing any old thing. If you already
have a nice TABLE TOP we can recommend our
“UNIQUE”
TABLE
LEGS
Beautifully Chromed, can be “set” or “broken-down” in a
few seconds. Completewith fitting you can easily fix to your own tabletop.
-~S3/3/-
Price U S A . $12.50.
” THE SECRETASSISTANT ”

HUGH WYLIE
A n excellent “surprise” to close any type of act.
At close of his show magician confesses that his “miracles”
have been achieved by using a Secret Assistant . . and “Here he
(or she or ‘it’) is!”. And so saying, theTable Top Visibly
Transforms into a Full-size Cut-aut F w e .. almost Five Feet
Tall! A guaranteed Applause-getter.
For Kiddies Entertainers . . we have a Delightful PIXIE type
Figure decorated in many gay colours. ADULTS would love
it, too. For ADULTS we have a glamour girl for Male Per-
formers or Handsome Looking Man for Lady Magicians.
.
We can also make “specials” . . for instance . “Man from
Mars” . . or character” figures to suit almost any type of act.
‘ 6

The Table Top before “Transformation” measures 18” by

12”. I don’t want to kid you that it will support heavy appara-
tus during the show. . but it is nicely finished in Red Cloth and
..
Red fringe looks good, and will be accepted by audience as
.
normal Conjuring Table . and you can use it in the usual way
’ . . provided that apparatus is not too heayy. HUGH WYLIE used it to close his Prize-
winning Act . . and &e moment we saw It, we loved it .. SO w l
l .
iYOU. and YOW audi-
ence! Price S6. U.S.A. $24.00.
0 SPECIALOFFER - “Secret Assistant” complete with Unique Table
Legs S8/15/- a saving of 18/- U S A . $38.00.
“ Unique “ TABLE TOPS
We have a grand selection of these, from the “Traditional” to the “Sophisti-
’

cated” tmes.
”BLACK - The sort of tablethat, when anyone
sees it, they will automaticallysay
“That’s the Magician!”. A really Handsome Table 20 ins. by 14 ins. . .
covered in Black VELVET with design in Gold Braid with Gold Fringe.
TWO very useful Black Art Wells which I guaranteeare “invisible” a
few inches away. Excellent for Drawing Room, Platform or Stage use.

Price 45. U S A . $20.00.

Velvet Covered - A handsome Table Top in Plain Colour . Red .
or Black Velvet.
Price 55/- U.S.A. $1 1 .OO.
SPECIAL OFFER - You can save yourself money by buying the Table Legs and Top at the S-ame
Time. - BLACK ART TOP complete with UNIQUE LEGS ..
S7/10/- U.S.A. $30.00. a savlng
U.S.A.
of 13/-. VELVETCOVERED“PLAIN” TOPCOMPLETE with UniqueLegs S5/10/-.
$22.00. a saving of 8 / - .

29
 a IT MAY SOUND A BIT CORNY . . but there is
NO OTHER WAY to tell you how this has hit the
boys . . every time we show this . . IT’SA S A L E !
Everybody is saying that it’s the cutest Routine in Years!
M 0N TY THE MINIATUREMAGICIAN
A really grand piece of Novelty Magic in which you tell the
audience about your friend “Monty” who being quite small can-
not use normal-size playing cards . . he has a small pack. You
get a member of the audience to help you and showing him
your empty hand, you ask him to imagine that Monty’s pack is
7wa-L lying on your palm. Then follows agreatdeal of fun with
him being asked to remove the imaginary pack from its imagin-
ary case, then to shuffle the imaginary cards . . to “Fan” them out in front of him and to
think of any imaginary card then “remove” it, “turn it over” and replace it in the pack
face down. Finally to “shuffle” the imaginary pack . . “replace” the “cards” into their
“case” and put it back on your palm, which is then covered by your other hand. Asking
spectator to concentrate on his imaginary card . . you then lift your hand . and there .
. . . resting on yourpalm is a REAL PACK ! This really makes their eyespop . .
but . . THAT’S N O T A L L f o r removing the cards, you ask him to name his thought of
card . . he does so . . and running through the face up cards ..
one and one only is seen to
be face down. Spectator himself removes this card . . it matches his perfectly!
BUT.. .,..THAT’S NOT ALL
for you now follow on immediately with the smallcards to tell Fred Lowe’s story ...
“THE WIDE BOY” which for the sake of routine we now call
MONTY AND THE SPIV
and you illustrate the tale with the cards as you deal them on the table. Reading this
in cold blood it may not look much, but believe me, your audience will love this little
.
story, it’s cute and very amusing . and it will fool them. As a matter of fact. . it is this
part of the routine everyone says is alone worth the price of the whole trick.
BUT ......THAT‘S NOT ALL
for still keeping up the theme of tricks in miniature, you now do one using
MINIATURE
SPONGES
the climax of which is so good, I won’t reveal it here . . but, take it from me, it’s a real
knockout!
.. .
Well, ladies and gentlemen there it is...THREE smashing tricks . making a really
Novel Routine that you can easily carry in your pocket ..
and the beauty of it is, that it’s
..
all dead easy to do no sleight of hand required. Spend a n hour learning the Routine
and Patter and you can give a magical entertainment your audience will remember for
many a long day to come.
Complete with Apparatus ..
Routines and Patter.
Price 12/6 U.S.A. $2.50.
IF YOU WANT TO LENGTHEN THE above routine I can recommend the Gambling
Demonstration that’s been such a hit on T.V. . . ..
” I WOULDN’T LIKE TO PLAY CARDS WITHYOU”
HARRY STANLEY.
An audience teeted Gambling Routine of choice card effects, that run smoothly and logiqally one into
the other. Impromptu with borrowed cards, No Skill, yet your victims will mrely .ay, I Wouldn’t
like to play cards with you !” 12-page TYPESCRIPT MANUSCRIPT, complete with Patter.
Price 4/- postage 6d.

30
 AS USED
BY
THE
STARS .....
The recent re-kindling of interest among magicians and public alike in t h e classic Linking Rings has
has been brought about by Star Performers like AI Koran ..
Ken Brooke .. Jack Avis, etc. etc., who
all use the basic “moves” of the one and only “Professor” . . Dai Vernon, whose method of “Linking
andUnlinking”is quite fantastic. You’ll find itall in
DAI VERNON’S h&
SYMPHONY Of RINGS”
Magicians alloverthe world have acclaimed thisfabulousroutineasthe Greatest Ever. This new
book with superb Photographs and Crystal Clear Explanation by Lewis Ganson, brings this great piece
of magic within the REACH of EVERYONE.
Price 15/-postage 6d. U.S.A. $2.50.

BY SPECIALREQUEST
So Many Chaps have written to ask for an “Abridged Set of Rings” we are
now offering a
Special Unique Set of THREE Rings
-
( O i e Keyand Two Singles)
PLUS a suggested Routine by Ken Brooke, using the famous Vernon Moves
as described in his “Symphony of the Rings”. Thus we hope to encourage you
to TRY this classic trick with our Beautiful Rings at a very reasonable price.
You can learn the necessary moves quite easily, then if you fancy going on ..
we can supply you with further rings, if desired . . prices pro rata.
THE UNIQUE SPECIAL THREE RINGS SET PLUS KEN BROOKE
ROUTINE - 10” X $” f2/2/- U.S.A. $8.50. IO” X A’’ f2/1 l/-
PLEASE NOTE . . to avoid any misunderstanding, we want to make it quite clear the Ken Brooke
Routine does NOT teach you the actual moves . . you need t h e Vernon Book for this. Ken’s routine
shows you how to link the moves into a Three Ring Routine.

ONLY
THE
BEST
WILL
When you buy a set of Linking Rings it’s false
DO . . . .
economy to get a cheap set . . don’t be tempted!

U N I Q U E

L I N K I NR
GI N G S
These are made by a Master Mechanic. Heavily Chromed
. . acknowledged t o be the finest in t h e world. Exactly as
used by Dai Vernon whose comment was . . “these are just
perfect”.
The “Vernon Set” of 6 Rings - 10” x t”
Price &4/4/- U S A . $17.00.
The “Vernon Set” of 6 Rings - 10” X &”
Price S/-/- U S A . $20.00.
The “Standard Set” of 8 Rings - 10” x 2’’
Price &5/5/- U.S.A. $21.OO.
The “Standard Set” of 8 Rings - Io” x &“
Price f6/-/- U S A . $24.00.
 HERE’S A GOOD ROUTINE . . . You start with . ..
SILK-ON
You show a piece of Rope quite freely, running it through your
handsseveraltimes. You thentie a Knot and Instantly a Silk
sudddnly makes its appearance right in he centre of the knot . .
a real startler! You then carry on with a routine by Ken Brooke
he ra.11~

in which you first remove the silk, then untie the knot . . . but
when you cov.er t h e rope with the silk . . the Knot re-appears !
This is repeated several times with a nice Laugh Gag, a s an addi-
--
tional feature. Verv e a s y to do . . this is “a clever Diece of manic
on its own”, but as both-the rope and the silk are &faked , . you
can use them to follow on with the NEXT TRICK - see suggestions below.
Complete with Rope . . Silk and fully illustrated instructions plus Ken Brooke Routine and Gimmick
(which can be used for other tricks .
. a real Utility Prop).
Price 8/6 U S A . $2.00.
FOLLOW
ON .... WITH

” EQUALLY-UNEQUAL-ROPES ”
Dr. Tarbell set the boys tongues wagging when he showed this very fine
Rope routine during his recent lecture tour. You will say it’s one of the
cutest things you’ve seen . . and you’ll be right too!
.
You show three pieces of Rope . each a daerent length . . measuring
respectively . . 14 inches, 30 inches and 48 incheslong. You gather up
the ends, and by hanging them in different positions, statethat you have
now made them look equal in length. But pulling them apart . i t be- .
comes obvious (even t o a blind man) that you are trying to “kid” them,
as they are so obviously unequal. .
But . and this is where you “shake”
.
them . you continue to pull on the ropes, until you “stretch” them and
show quite clearly that the three ropes are each equal in length! ! You
then return them to their original state ..
and throw the ropes out for
closeexamination. And .. aftertheexamination by audience, you can
Repeat the trick again and again (if desned). Eaay to D o . . Complete
and ready to work Right Away.
Price 5 / - postage 6d. U.S.A. $1 SO.
THEN INTO . . . .
SUCKER COLOUR CHANGING SILK
Magicians all over the world have seen K a get BIG LAUGHS and LOTS
of APPLAUSE with this one. It can do the same for YOU. Acknowledged
to be the Greatest Comedy Silk Change Routine ever devised.
A Red Silk is passed through the fist t o emerge Green. Performer “ex-
plains” how it is done .. .
and shows that he has TWO Silks . One Red and
the other Green. Warning them of t h e necessity of keeping one carefully
concealed, he demonstrates how t h e change is made . . BUT , . upon openmg
his hand t o show t h e “concealed”Silk .
. it just isn’t there! It has Com-
pletely VaGshed! Then,passingtheRedSilk once againthroughthe
previously shown empty fist
EMPTP.
..
it emerges Green! Both hands arecompletely

Words cannot adequately descrii the brilliance of the routine ..

it is a 100% applause ge&t.erl
Ask any magician who has seen it I It is not 8 “self-working” effect, but with a very modest amount
of practice, you will have an itemthat you will never leave out of your programme. Suitable for Draw-
ing Room, Platform or Stage ..ideal for Campre First-Class Practical Magic. Complete with all
apparatusandsilks necessary, nothingelse requid.Instructionsandroutinefullyillustrated.
Price Sl. U.S.A. . $4.00.
. . . . AND
FINISH WITH
trickbyRAVELLE & ANDREE
NEW SILK TO FLOWER
Price 7/6 U.S.A. $1S O .

Bmkhouse & Brittan (T.U.Ptrr.), Phoenix Wks., Nungate, Peckham High Street, 6.E.15.
 -
\*: .
e

4
c

~~

FRED LOWE
VOLUME 17. No. 2. JUNE 1961
 THE TARBELL COURSE IN MAGIC
”
teaches you, not only tricks of all kinds, including pocket and stage tricks, and illu-
“

SAWS, but it also teaches you the fundamental and basic principles of all phases of
t h e a r t Aich are esseptial t o successful entertaining as an amateur or professional.
No “usual magic book” can give you this information.
A COMPLETE LIBRARY OF MAGIC which consists of several volumes, and these
eover all its phases. Each volume is clearly written, well printed and fully illustrated.
Each bound in cloth in the same uniform style. If you wish an extemsive knowledge
of magic, get all the volumes.
FORAMATEURSANDPROFESSIONALS.TheTarbellCoursein Magic i s
written for all who desire to become proficient in the art,whetther for social amusement
or as a profession al. I t s broad scope is noted in the summary of the contents given below.

VOLUME 1.
1.-History of Magic.
2.-Magic as a Science.
3.-Sleight of Hand with Coins.
4 . P - n Tricks.
S.-More Coin Tricks.
6.-The Thumb Tip.
19
Lessons. 918 Illustrations. 410 Pages - Price - f2/12/6d.
7.-lmpromptu
Tricks. I 3 . P a r d Sleights.
8.--Ball Tricks. 14.-NovelMysteries.
Card
9.-MathematicalMysteries. 15.-Restoring TomPapers.
10.-Effective Card Mysteries. 16.-Rope and Tape Princ’ples.
Il.-lmpromptuCardMysteries. 17.-HandkerchiefTricks.
IZ.-Mental CardMysteries. 18.-KnottySilks.
19.-Eggs andSilks.

VOLUME 2. 14 Lessons. 410 Pages. 1,087 Illustrations - Price - f3/10/-

ZO.-How to Please Your 25.-Sleight of Hand with Cards, 30.-HandkerchiefMagic,
Audience. back palm, seconds, etc. De Luxe.
Zl.-Magic wrth Wands. 26.-Selected CardMysteries. 31.-Rope Magic-New, Clever.
22.-Double Paper Mysteries- L?-R.sing Card (17 methods). 32.-“Ghostlie” Mysteries.
Many deceptive effects. X-Egg Magic-Tarbell’s Egg 33.-lllusions--low cost effects.
23.-Magic with Coins. Bag-Unbreakable Egg,
2 4 . P i g a r e t t e Magic with Light- etc.
ed and Unlighted Cigar- Zg.--Billiard Ball
ettes. Manipulations.
........................................................................... .......................................................................

VOLUME 3. 12
Lessons. 418 Pages. 1,116 Illustrations. - Price - f3/10/-
34.-Routining a Magic Show. 39.-Fundamental CardSleights. 4 3 . P o l o u r ChangeSilks.
35.-How to Make People Laugh. 4 0 . P a r d Mysteries 44.-Rabbit andMagic.
Dove
36.-IntimateMagic. 4 1 . r l r d Stabbing. 45.--lllusions.
37.Aonjuring with Currency. 42.-Novelty Handkerchief
38.-Modem CoinEffects. Magic.
.................................................................................................................................................................................................................

VOLUME 4. 13
Lessons. 418 Pages. 1,140 Illustrations. - Price - f3/10/-
46.-Novelty Magic, 50.-Novelty Cards.
Rising 55.-Magic with Ribbon.
wide variety. 5 1 . X a r d TransitionTricks. 5 6 . C i l k e n Sorcery.
47.-Thimble Magic. 52.-Mental
Luxe. De
and Psychic
Complete Act. Mysteries. 5 7 . P l a t e Tricks, New and
48.--SwalIowing
Needles and 53.-The Thumb Tie- Novel. Methods
with
Blades. Ten Methods. Onr and Two Slates.
49.-Unique Card Magic. 5 4 . P h i n e s e Linking
Rings. 5&Illusions. F u Manchu’s.
..................... .............................................................................................................................................................................................

VOLUME 5. 13 Lessons. 418 Pages. 1,152 Illustrations. - Price - f3/10/-

59.-Unique Magic. 64.-OrientalMagic. 68.-Magicof the Bambergs.
6O.-More UniqueMysteries. 6 5 . 4 r i g i n a l OrientalSecrets. 69.-Magic with Bowls and
61.-Four-Ace Effects. 66.-Tarbell Hindu Rope Liquids.
62.-Modern MentalMysteries. Mysteries. 7O.-Illusions.
63.-Hat andCoatProductions. 67.-Modern RopeMagic. 71.-Publicity and Promotion.
...................................................................................................................................................................................................................

VOLUME 6. 10 Lessons. 410 Pages. 1,200 Illustrations. - Price - f3/10/-

72.-Novel Ball
Magic. 77.-X-Ray Eyes and Blindfold 80.-Spirit Ties and
Vest
. Effects.
73.-Unique Card
74.-Novelty Magic. 78.-Silk and Rope
Penetration. 8l.-Modern Stage Magic.
75.-Rope Magic. 7g.-EscapesSubstitutions.
and 82.-stage
Product‘on.
76.-Mindreading Mysteries. 83.-Magic as Theatre.
-~
 THEGENIAL FACE on our cover thismonthisthat of
Fred Lowe who started magic in 19% whilst recuperating from
S motor cycle accident. To passthetime, while nature was
performing her own magic, a kind relative presented Fred with a
cop.v of “Modern Magic” and from then on his fate was sealed.
Incidentally, the relative has not yet been forgiven!
The members of the MahatmaCircle of Magicians took Over
from Hoffmann and it was a t t h ehands of such fine magicians as
Harry Hickson, Louis Histed a.nd Oscar Paulson that the early
indoctrinatidn w a s received . . . nodoubtHarry,Louis,Oscarand Co. refusetotake responsibility forthe
result ! Unfortunately the war broke up the flow of these important formdative years as there was the urgent
task of becoming a Pilot with Coastal Command R.A.F. Postings seemed designedespecially for Fred t o per-
form to the seals, as first it was the North of Scotland, then Iceland, hut there was a lucky break magically as
a trip to the Middle East. enabled him to study the excellentmisdirectionof the Gulli-Gulliboys. Anyhow he
does claim thedubiousdistinction of performingacardtrick while on anoperationalflight,andhavingthe
climax completely ruined by the sighting of an enemy submarine-a pity because for once the trick had worked
perfectly up to that point.
Seriously, FredLowe isone of our leading performers and (most important) thinkers of the modern school
who study and develop natural magic. H e tends to use as few specially prepared properties as possible, obtain-
ing his effects through subtle moves, clever misdirection and sound psychological principles-a subject in which
he has a deep interest and wide knowledge.
AlthoughFred is a. member of aboutsix MagicalRociet’eshe tells us that he looks upon the meetings as
pleasant social occasions, rather than steps to magical honours for which he has no particular liking, preferring
t o judge a fellow magician by his actual knowledge rather than the number of degrees he holds.
PerhapsFred is better known for his performances ofclose-111) magic, for at T.B.M. Conventions and other
magical functions he isalways well t o the fore, usually organising as well as performing, as he will be at the
I.B.If. Conrention this year. But this year too we will have the opportunity of seeinghis stage act, for with
hischarming wife, he will presentmental magic underthe billing of Frederic and Hilary-Televisioh of the
Mind. Watchyour Television setstoo,forFredwasone of the close-up performers booked by Harry
Stanley to make a series of short films for British and Continental T.V.
To Fred and Hilary Lowe and their two nice daughters we raise the Gen glass and wish them all the good
things in life.
LEWIS GANSON.

CONTENTS -- - - - -
From the Gen Desk - Lewis Canson ...... 35
The Adventure of the Final
Problem and
the
Empty
House - Rink ............ 45
Map Miracle - JohnRice ...... ............ 36
The “Mento” Dice and Card Effect - Cyro
49
See-Through-Girl
Production - 37 Spot the Silks . . . . . . . . . . . . . . . . . . . . . . . . ...... 51
Arnold de Seiver . . . . . . . . . . . . . . . . . . . . . .
The Stretching Spill - Tom Sellers ,. 52
Sausages - Kern de Courcy . . . . . . . . . . . . . . 38
Foo-Lota-Vases - by the late
Match Magic .......................... 39 Harold C. Beaumont ............... 53
LewisCanson Explains - Arnold de Seiver’s Impromptu Rope ThroughNeck -
BillTube Routine . . . . . . . . . . . . . . . . . . . . . . . 41 by the late Harold G. Beaumont . . . . . . . . . . . 54

ACheeky Card Conception - Frederica ...... Review

43 - Harry Stanley . . . . . . . . . . . . . . . . . 55

THE GEN is published on the 10th of each month by HARRY STANLEP, 14, Frit5 Street, London, W . l . -
Single Copiea : 2/6: Twelve monthssubscription 25/-. U.S.A. Single Copies 40 coat.: Twelve months
subscription $4.00.
Editor : LEWIS GANSON. Art Editor: DENNIS PATTEN.
3 HARRYSTANLEY 1961. Contributionsare onlyaccepted on thetermsthatthecopyright belongs to
Harry Stanley.

35
 F O R THIS MOST unusual and interesting effect you
need a Clear Perspex Map Case . . you should
be able to pick up one of these at an ArmySurplus Dis-
posal store . . or approach a local restaurant proprietor
and get him to sell you one of his perspex-fronted Menu
Card cases. Into this you place a Map (or portion of it).
You also require some slips of paper onto which you rub
someFanningPowder(ZincSterate, from your local
chemist).This does not alter their appearance . . yet
if writtenon while resting ona plastic
surface, will leave on it an impression of name of it on a slip of paper . . folds the
the writing. It is easily spotted if the paper and either retains itorgivesit to
caseisheld at the correct angle to catch another person. Magician takes theMap,
the reflection of the light. Try it out a few follows an imaginary route and finally an-
times and you will get used to the idea nounces the name of a place. Person
very quickly. B y the way, for writing holding paper verifiesit as correct. The
by spectator use a Ball Point type of pen. effect may of course, be repeated.
The resultant “impression” can be easily You may care to “localise” the effect . .
rubbed out with the fingers. Use a coarse in which case, it should be quite easy for
type of paper rather than a smooth kind. you to obtain a local map and use that. In
EFFECT: A member of the audience this case, it may be a good idea that you
selects any place ona Map, writes the suggest a starting place . . and for assistant
to strike off in any direction they care, and
to eventually arrive at a destination of their
choice. As a protection to yourself, you
suggest that they record it on a piece of
paper . . it is reasonable to ask for this for,
after all there is nothing to prevent them
changing their mindafter ”ou have an-
nounced a place. You also have a good
reason to shift the map around (to get it at
the right angle), as you are apparentlv
“Following the route”.
A half hour look at the map should famil-
iarise yourself with it, and make the task
of “reading the route” quite easy. Itwill
also enable you to bring in a few “touches”
which will make the “readin-.” more inter-
esting. Having two sides of the map
available, widens the scope and deepens the
mystery. We are surethatwhen you
have used this a few times, vou will appre-
ciate more and more, what an unusual
and interesting effect this is . . and with
many more possibilities, too. For it must
be apparent that you may use other things
than a map,if desired.

36
 “ SEE-THROUGH-GIRL
PRODUCTION ”
BY ARNOLD DESEIVER

THIS MONTH, I depart from my usual smaller

magic to give the reader a very effective,
cheaply made ,.illusion.: I have. found it most effec-
tive for platform work and feel sure that- thereader
working concert party willfind it useful. I first
built the apparatus during my early days whenwork-
ing a bigger act and at t b t - t i m e the ‘‘ Cabinet” was
glazed withgenuine glass. However, the present
model is glazed with a new material under
the trade name of ‘‘ Polyglaze” which is a
very durable polythene and isalsoclear.
Using this material and constructing the
framework as per the sketch, from one-inch :rblind
square timber with thetop and bottom
strengthened by using half-inch by four-
inch- floorboard, the whole thing can be
made for ,under &2/1 O/-.

The drawing is almost self explanatory.

The “Cabinet” is six-feet high and two-
foot-six-inches square. Only three sides
are “glazed”. The rear side has a roller
blind attached behind the top strut which
is four-inches deep. Two thin guide wires
run one each side of rear of the Cabinet
and onthese, run rings sewn to the bottom
edge of the blind. The blind can be spring
loaded if desired, but is quite easily pulled
up by a cord at the right moment. Inci-
dentally, the blind is the same colour as
whatever back-cloth is being used.
I
I work the illusion as follows. The girl
to be produced, stands behind the Cabinet.
The blind of course, being pulled down.
37
When the curtains open, the audience see
a cabinet which appears completely inno-
cent as it can apparently be seen right
through. After attention has been drawn
to the Cabinet, a screen is placed in front
of it. Immediately the Cabinet is screened
from view, the qirl either releases or
winds up the blind and then steps into the
Cabinet. The performer meanwhile has
taken up a blank pistol, and aiming at the
Cabinet-fires. At themoment of the
report he knocks the screen over which of
course gives a further impact and the girl
has made her appearance. She can either
step outat rear or have the Cabinet remov-
ed.
The reader may care to hinge the sides
of the Cabinet to enable it to be folded for
packing. Strengthening struts may, of
course, be added, but care should be taken
not to elaborate too much.
I find that as thesketch, it appears com-
pletely simple and free of guile. The
introduction of the ‘‘ Polyglaze” brings it
within the pocket of the average semi-pro.
andsome thought could be successfully
expended on uses for this excellent substi-
tute for glass.
Reading through the above, I notice that
I have omitted an effective ending, in that,
if working a good stage it ispossible to
have the Cabinet lifted straight up after
girl has made her appearance. Lifting
rings are attached to lines and the Cabinet
is “flown” at the right moment.
There it is, have fun with it.

SAUSAGES - - KEN DE COURCY

FOR THOSE READERS who are in possession of this

excellent and inexpensive prop., we pass on Ken de
Courcy’s clever patter story as an extra bonus!

Ladies, Gentlemen and Students, I will now give you a

short lecture on the history and peculiarities of that profound
mvsterv of present-day life, sometimes called a “Banger”, but
moreoften referred toasthe Common
Sausage. Whilst it has many Usages, of one thing
I am certain! It is most inadvisable to eat
Originated in the USA., it has now a Sausage in a Sausa in the middle of a hot
travelledall over the civilised world . . . anddustyAugust.Even if we cover it
and is full of Sex appeal. liberally with Saus, and cook it for Ages, it
will do Us no good at all.
Its continual travelling has made it Sag
in the middle, unless fried. Generally In short, it will make us feel Lousy!
made from pork, obtained from a Sau, but
even the wisest .of Sages could only hazard Anyone for Sausages?
a Ges as toits origin when it is made from
Aus and liberally garnished with Sage! “ SAUSAGES” - lo/-.
38
 M A T C H MAGIC
effectswith book Matches -
EFFECT No. 1. Performertakes a book of matches
from his pocket, and displays freely. It is seen to be full of
matches, which the performer then proceeds to tear out en
bloc". The book, now clearly empty, isclosed and placed
aside. The block of matches is now vanished by the perform-
er. Upon re-opening- the book . . the matches are seen to be
back in place!

Method: For this you need a specially you, and the left hand upwards until the
faked book of matches. The staple hold- book is vertical. See Figure 4.
ing the matches in the book is removed, The right hand covers the hinged
and reinserted through the striking surface matches and grips the book at the hinge.
and ONE row of matches (from each end See Figure 4.
of which one match is removed).The
staple does not pass through the back of
the book, so that the striking surface and
one row of matches are free to move on
the hinge formed bythebottom of the
book. Behind the first row of matches,
the second row of matches is held in a
pocket formed by a second strikina surface,
cut from another book, and glued at each
end.
A staple is fixed through the bottom of
this and the back of the book. See Figure
1.
Working: Takethe book fromyour
pocket, show casually back and front, open
it and show full of matches. Turn the
open book so that the matches face down-
wards, and draw attention to the advertis-
ingmatteronthe outside of the cover.
Hold as shown in Figure 2.
The fingertips hold the hinged matches
in place. Now place the rioht hand under
the book. See Figure 3.
Allow the hinged matches to fall down-
wards, then move the right hand towards
 Draw attention to the fact that there is
also advertising matteronthe matches
themselves.
The left fingers release the grip on the
book . . take hold of the second row of
matches and pull them out of the pocket.
(Pretend that you have to use force to do
this.)
Throw this block of matches onto the
table and fold up the book. This is done
as follows: Fold the cover forwards and
downoverthe back of the right hand.
Take hold of the hinge with the left finger-
tips. Withdrawthe right hand sideways,
from between the matches and cover.
Then withthe right fingertins, fold the
front of the book in towards you, and up
against the matches. Turn the book face
upwards, and tuck the front cover under
the striking surface in the normal manner.
Lay the book on the table.
Pick up the block of matches. Vanish
these by using the tourniquet pass or anv
other method you wish.
A very clean way of getting rid of the
matches is to have a dab of wax or chewing
Trtm head
dom to the
’ W O O ~ ’ O M-the
-top + sldes
40
gum on the back of them, say you will
pass the matches through the table, and
bang them on the underside of the table-
top where they remain-by virtue of the
wax. Simple-yeteffective !
Open the book and show the matches
have returned.
If you wish to leave the book for examin-
ation, you can have an unfaked book in
your pocket. Place the fake book in your
pocket at the end of the trick, and immed-
iately bring out the unfaked book, saying,
“Oh, Perhaps you would like to try and
do it!” . . . OR . . . if in the first place the
trick is introduced prior to offering them a
light . . . you may conclude by saying . . .
“Oh, I nearly forgot . . . you wanted a
light!”.
EFFECT No. 2.
“ SPLITTING A LIGHT ”
This is more of a stunt than a trick-
just one of those amusing and surprising
things that are expected of a magician.
Light a book-match in the usual way and
let it get well alight. Then split the bottom
end with your thumb-nail and tear the
match lengthwise into two halveswhich
will BOTH be alight. Light your cigar-
ette with one half and pass the other to
your friend.
If you like to take the trouble to pre-
pare your matches beforehand by splitting
them carefully from the bottom to just be-
low the head, they can be separated as soon
as they are lit, which makes the stunt
easier andmore surprising. These pre-
pared matches can be tucked into the back
of the book behind other matches (see dia-
gram A. ) .
EFFECT No. 3.
“ LIGHTNING STRIKES TWICE ”
In this litle stunt, a bookmatch is lit,
and blown out. Then the performer
strikes the same match again, whereupon
(Continued on page 44)
 AN INTERESTING POSSESSION of mine is a sort of
glorified scrap book into which has been inserted
explanations of unusual magical secrets, collected from many
sources. To Magicians who have stayed with me and hand-
led the book it has become known asThe Book that cannotbe
published, as it contains secrets which have been passed on to
me with the direct understanding that they
are not for general publication. How-
ever, from time to time, a fellow magician and attach a safety pin to both tabs. This
will say I can either keep it for myself or bagis altached to the jacket lining, just
publish it as I wish, friend Arnold de Seiver inside the inner breast pocket. A trial will
did such a thingsomemonthsagoand show thecorrect position ; the thing to aim
wrote, “Here is my Bill Tube Routine with for is that the tube (in the open position),
which I have had great success. I pass is inserted in the bag with the secret open-
it on to you for your own use. Should ing protruding just above the pocket, the
you wish to publish it then please do so, actual opening being adjacent to the coat
but if you prefer to keep it to yourself, lining. It willbe seen that the tube in
there will only be two of us working it”. this position is very close to the armpit.

The sequence of events up to the loading

In his explanation, Arnold wrote, “Now,
my Bill Tube is the one without the padlock
and you may have a slight snag to over-
come with the padlock type”. Well we
solved thatoneby wrapping adhesive
tape around the padlock so that it was at-
tached firmly to the side of the tube. This
prevented the tube jamming at the wrong
moment (this will be clear when you read
on) and the appearance to the spectators
is that in addition to being padlocked, the
tube is also taped for extra security.
Now for the initial preparation . . make
a small cloth bag to hold the Bill Tube.
This bag must be of sufficient depth to hold
the tube in the “open” position, with the
secret opening above the mouthof the bag.
Fix a tab to the topand bottom-of the bag
of the note into the tube is important, so
we will deal with these in some detail.
Obviously the spectators know nothing
of the existence of the tube. You start
with no props. at all, the beforehand pre-
paration having included the provision of a
handkerchief with a folded,rolled and
banded duplicate note (or paper) in the
hem, which is in the outer breast pocket.
Borrow a note and ask a spectator (No.
1 ) to write down the number. To enable
this to be done, take a piece of blank card
and a pencil from your inner breast pocket
and hand it tothe spectator. He writes
down the number and as heis finishing,
ask a second spectator (No. 2) to take the
note..from him..- Contrive to have No. 1 on
~

41

your right side and when hehas completed
the writing turn to No. 2 and focus all at-
tention on him as he is directed to fold up
thenoteinthemanner required. This
effectively prevents No. 1 offering you the
pencil at this stage . . you don’t want it
yet !
When No. 2 has folded the note, have
him wrap arubber band around it (to con-
formwiththeone in the handkerchief
hem). Remove the handkerchief from
your breast pocket, place the rolled note
under it, switch for the fake in the hem
and leave the note in the LEFT hand. Let
spectator No. 2 hold the fake note through
the handkerchief, then turn to No. 1 , with
the words, “Good . . now we’ve got that
safely wrapped up, this is where you come
in . . . ”. Notice that he is still holding the
TEE LINKING RING
A magic monthly magazine exclusiv-
elv for members of the International
Biotherhood of Magicians. Publish-
ed continuously since 1923. Averages
140 pages, illustrated, each month.
You do not have to belong to a Ring
42
pencil and crack the old gag, “That’s how
I got it” as you take it from him with a
smile. This still gets a laugh and the pen-
cil, which is taken with the LEFT hand is
placed inside the jacket. Release the
pencil immediately to fall into the pocket.
While the left hand is under the jacket,
insert the note into the tube, remove the
tube from the bag, close the tube and drop
it into the sleeve opening at the armpit. As
the right hand is naturally holding the jack-
et atthe bottomof the lapel, the tubeslides
down to the elbow and lodges there. This
does not take as long to do as to describe.
You willfind that you only need one
more quick remark to Spectator No. 2 . .
such as, “Are you alright? . . you’ve got
it safe, haven’t you?”, and you can drop
your right arm, catch the tube in the cup-
ped fingers as it falls and immediately place
the hand in the right pocket. Bring it out
immediately, just allowing the correct tim-
ing for a hand to go to a pocket and bring
out the tube. Hand the tube to spectator
No. 1 .
Well, all the “dirty work” is done, so
your whole attention can be concentrated
on obtaining themaximumeffect from
vanishing the note from the handkerchief,
then having the tubeopened and the num-
ber on the note inside verified.
A strong point is that in the minds of
the spectators there is no possible connec-
tion between the note handled by the left
hand and the tube taken from the right
pocket by the right hand which is seen to be
empty a moment before.
to apply for membership in the 1.B.M
Write for detail.andapplication form to :-
INTERNATIONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton, Ohio, U.S.A.
or W. G. STICKLAND, “The Wand”,
DudsburyCreacent, Ferndown, Donet.
 I’VE HAD A lot of fun with the following effect. I hope
you
will try it out,
and I know you too will get a great
I I
deal out of it. Please don’t let its simplicity mislead you-l
can lay no claim to originality, I’ve merely place it face up to the right of the face
taken two old principles, routined them down card (from this face up card you can,
1L into one effect in such a manner as to dis- of Course, tell what the face down card is).
guise the principles and at the same time Take thenext card from thepack and place
make an unusual and effective card trick. it to the left of the face down card. Look
Effect: Pack is shuffled, spectator at the two face up cards andsay, “Your
counts down to any number (unknown to card was the . . . , and name it. Card is
1,

performer)and notes card there. Pack turned over and you are correct. Offer
is handed to performer who counts down to repeat the effect. . have spectator shuffle
to the selected number, lay the card on the pack and couht down to any number and
table face down, thenext two cards are note card as before. You arestanding
placed face up on either side of the un- with your back to him at this point so you
known card. Performer is able to name cannot see what number heis counting to,
card without seeing it. Performer repeats at least, you state that is the reason, actu-
the effect afterthe cards have been shuffled ally it is so that you get the cards handed
by spectator, but when face down card is to you, behind your back (when you ask
turned over it is an entirely different one him to give you the cards), which you do,
and the chosen card is found in performer’s whenever he tells you he has noted a card.
or spectator’s pocket. As soon as the cards are handed to you be;
Requirements: Pack of cards, set up in hind your back, turn round to face spec-
Si Stebbins’ or your favourite set-up. You tator, but still holding the cards behind you,
will also need to palm a card, but the mis- and as you explain that you never see the
direction is so strong that you can do it faces of the cards, etc., you take three cards
easily; . , . .
’ from the bottom of the pack and add them
Routine:. Fan pack and if you can false to the top. Bring the pack to the front,
shuffle, do. so. Hand pack to spectator and ask for the number, count down to this
and ask him to cut pack and complete cut, number and place that card face down.
then ask.him to count down to any number Spectators think that is the selected card.
and note the card at that number. (You Take the next card and place it face up on
should turn your , back^ at this p i n t . ) the right of face down card and take the
When card has been noted, turn round and next card and place it face up on the left of
point outthat it is impossible for you to face down card. As you pretend to add
know the card or-its position. A s for the the totals of the two face up cards, you
number, count down slowly and deliberat- palm off the topcard of the pack (the selec-
ely to that number and place that card face ted card) and with. the card held in the
down on the table, take the next card and palm of the right hand, noint with the right
43
forefinger to the face right
up card and then
the face up left card. As you do this, it is
easy to see the card in your palm and you
name it. The spectator agrees thatyou
are correct. They think thatthe trick is
finished and are convinced that their card
is on the table. Dispose of the palmed
card in your pocket or spectator’s. Have
the card turned over. Thev will get a sur-
prise. Thenfor your punch finish, have
the card taken from pocket by spectator.
You can have the card signed, and produce
it between the plates in wallet or any of the
other wallet tricks that Harry Stanley sells.
This makes it a real super little mystery . .
a little study will reveal that one effect is
played against the other and thus the vari-
ous principles are disguised. The two
principles are to be credited to Si Stebbins
and Joe Ovette.

(MATCH MAGIC--continued from page 40)

(to everyone’s amazement), it lights for EFFECT No. 5.
the SECOND TIME!
To accomplish this, it is necessary to “ THE COLOUR CHANGING BOOK ”
preparethe match secretly beforehand. A book of matches is shown and merely
Take a razor blade and scrape the edge of by a pass of the hand over it, the book
the match-head untilthe“wood” is laid changes to an entirely different design and
bare at the top and both side edges of the colour.
head. This divides the head into two To prepare for this effect you must ob-
halves (see Diagram B, page 40). tain two E M P T Y book match covers of
Strike the match with one side FLAT contrasting colours.
against the striking surface then blow the Open both covers out flat, and turn one
flame out almost immediately. (Make up the opposite waytothe other. Place
sure that youraudience actually sees it lit.) them together with the plain sides facing
Now, you should have a match head with and the printed sides on the outside. Tuck
one side burnt and the other not. If you the flap of one under the base of the other
are using red matches you can use the well- and vice versa. See Figure 5.
known “paddIe” move to show both sides Now fold the double book in half as in
of the head black, and then change them to Figure 6 , and it will appear to be a normal
red withthesame move. You can then book as the other design is hidden on the
strike the match a second time. inside.
To change the colour of the book, you
EFFECT No. 4. merely unfold it and re-fold it the other
“ WHO PAYS FOR THE DRINKS? ” way in the act of passing the hand over it.
Here is a good stunt for the bar. Take a
book-match and draw a circle on one side
and a cross on the other. Say you will toss EFFECT No. 6.
it into the air and if it comes down with “ THE VANISHINGMATCHES”
the circle uppermost-you will pay for the
When your friend asks for a light, take
drinks . . . if it comes down with the cross
out a book of matches, open it to show that
uppermost-youwill pay for the drinks
there are somein it, close it again and hand
It seems that your friend cannot lose-but
it to him. When he opens it, he finds the
he does, for as you throw the match you
matches have disappeared.
bend it in half with your thumb (see Dia- How’s it done? Simply prepare the
gram C.). book beforehand by removing the staple
When it comes down, it will almost in-
holding the matches and slide the block of
variably fall on its side with neither the matches into your palm with your thumb
circle or cross uppermost!
as you close the book.

44
 THOUGH I ORIGINALLY evolved
this trick as an epilogue to Dai
Vernon’s famous trick, “Twisting the
Aces” (see “MoreInnerSecrets of Card
Magic” by Lewis Ganson), it is quite pos-
sible to perform it as a separate item. I
am going to describe it first as a separate
trick, then how it can be used in conjunc-
tion with other tricks. By chance I found
a new move, which secretly brings a card
second from the top of a houlet of cards.
We will call it “From Top to Second’.

From Top to Second :

1. Though any four cards can be used
for this description, we will suppose that
they are the four Aces. These are face-
down in the left hand, with the Ace of
Spades on top and the Ace of Clubs second
from the top. Take-the Ace of Spades
by the bottom _right corner between the
thumb of the right hand below, and thefirst
finger’on top. -Turnthe card over and
face-up to the right and keep it on the right
side and d i t t l e below the other three cards.
At ‘the same time the second card (Ace of
Clubs) is moved somewhat to the right by
the left thumb. The right bottom corner
of this Ace is pushed either under or above
(a matter of personal preference), the left
bottom corner of the Ace of Spades and
also gripped between the tips of the thumb
and firstfinger. The third finger of the
fight hand is now brought from under to
above the face-down Ace of Clubs.
Both hands now separate when the situ-
ation is as at Figure 1 , in which the third
finger has been moved above the Ace of
Clubs.
2. Both cards in the right hand are now
turned over (by turning the hand), then
turned back again, just to show the other
card, that was face-down. We arenow
back to the same position as Figure 1 .
3. Without changing the position of
the twocards (they overlap each other very
little), they are turned over on the other
two cards in the left hand. Done in slow
motion, this first brings us to the position
of Figure 2, in which the Ace of Spades
is more than halfway turned over on the
two cards in the left hand, while the Ace
of Clubs (separated from the Ace of
Spades by the tips of the first and second
fingers of the right hand), rests with its

45

left side on the tips of the left fingers. The
left fingers bend inward and so turn the
Ace of Clubs face-down on theother cards,
that is the cards are closedlike a book.
During this closing, the tips of thumb and
first and second fingersretire from between
the cards. If you study Figure 2, you will
see the “book” halfclosed. At the finish
both black Aces have come to rest on the
other Aces. All are face-down, but the
two black Aces have changed places.
Actually, of course, the move should not
be performed slowly but in a fluent move-
ment. It
is not difficult, butmust
practised.
The turning over of the two cards as
described in paragraph 2 adds to the illu-
sion and should not be omitted.
EFFECT :
Performer shows four cards and asks a
spectator to choose one of them. Again
we will suppose that the fourAces are used
and that the Ace of Spades is the chosen
card. Performer asks the audience to
watch the Ace of Spades as that cardis
going to vanish. This card
is openly
brought to thetopand again we will
assume that the Ace of Clubs issecond
from the top. The Ace of Spades is
shown once more then taken face-down in
the right hand. On turning the card over
it turns out to have changed to the Ace of
Clubs. The remaining cards are counted
46
and only three remain. The chosen card,
which isnot amongthem, is taken from the
pocket.
Method:
I . Four cards are selected by a spec-
tator and one chosen. The performer
asks spectator to watch that card as it is
going to vanish. In an example of the
four Aces with the Ace of Spades as the
chosen card, this Ace is brought openly to
the top and the Ace of Clubs second from
the top.
2. Themove“From Top to Second”
is executed then the performer goes on to
strengthenthe audience’sbelief thatthe
Ace of Spades is the top card of the packet
i n the following manner :-
3. The four face-down cards are spread
in afan, t o . show them all face-down.
While closing the fan, break
a is held under
the second card. This makes a double
lift easy to. do and any suitable method
can be used to show the two cards
be as one to be the Ace of Spades. The two
cards arenowturned facedown onthe
packet.
4. Thetop card (Ace of Clubs) is
pushed off the packet by the left thumb and
taken by the right hand. While this is
done, the left hand is not idle. The move-
ment of pushing off the top card is accom-
panied by a body movement to the right,
and simultaneously the left thumb pushes
-the bottom card of the three in the left
hand away from the packet and turns it
over against the other two cards. At the
same time the left hand is turned back up.
Figure 3 shows this move in progress. The
left hand has already turned and thephoto-
graph is an exposedview from the side.
The back of the left hand is covering the
turn over move and moreover, all attention
is on the card in the right hand. Figure 4
shows the position at the finish of the
move.
5. The situation now is, in theleft
hand is the Ace of Spades under the two
face-up red Aces. The right handholds
another Aceface-down, which theaudience
believe to be the Ace of Spades.
6. The card in the right hand is turned
face-up and is seen to be the Ace of Clubs.
The three other cards are placed on this Ace
and the face-up packet taken in the dealing
position in the left hand.
7. To show that the Ace of Spades has
really vanished, the four cards arenow
shown and counted in the following man-
ner :-
The top card is pushed intothe
right hand; the bottom cardisbuckled
and the next two cards are taken as one
card under the card in the right hand. The
last Ace isflipped over, then back again
andputon top of the other cards. The
audience sees only three Aces, no Ace of
Spades (Figure 5 ) .
8. The packet isclosed and held face-
up in the dealing position in the left hand.
The bottom card is now palmed in the fol-
lowing convincing manner :-
The right hand comes from behind the
cards and takes them at the back end be-
tween the tips of the fingers on top, and the
thumb under the cards. They are brought
to a perpendicular position, so that they
face the audience, ends parallel to the floor.
While this happens, the right thumb
presses down on theback card of the pack-
et, so that this card protrudes for about a
quarter of an inch. This is hidden by the
left hand whichcomes up in frontand
hides the lower portion of the cards.
9. The cards arenow taken over by
the right hand, fingers on the top end and
thumb onthe bottom end, but they are kept
facing the audience. Thanksto the pro-
truding card, the right thumb-tip can hold
a break between this card and the other
three. (See Figure 6 which is an exposed
view from the side. The break is exag-
gerated for clarity).
10. The right hand turns with its back
to the audience, while the cards are curved
inward to the palm. The backcardis
released by the tip of the thumb and springs
into the palm of the hand. The position
of the right hand at this moment is with the
fingers pointing to the left. At the same
moment thatthe card springs into thepalm,
the right thumb moves the other three cards
47
 7I
I f , preferred, you
can omit the
turn-
4 over movement as described in paragraph
3 4. In that case the cardis removed from
11 under the lapel with its back to the
I audience.
g
13. The trick can also be performed on
a. table, or sitting in an easy chair, using
the floor asa working surface. Figures

upwards, the tip of the middle finger acting

as a pivot (see Figure 7, which is an ex-
posed view frbm the performer’s angle).
The springing of the card into the palm and
the turning upof the three remaining cards,
fs one continuous and fluent movement.

1 1 . As soon as the three cards make

their appearance above the right hand,
they are met by the left hand which in-
stantly spreads them in a fan above the
right hand. This givestheposition seen
in Figure 8, which is also an exposed view
from the performer’s angle.

12. The audience now sees the back of

the three card fanas in Figure 8. The
left hand removes the fan andturns it face-
on to the audience. At the same time,
the right hand holding the Ace of Spades,
goes under the left lapel and produces the
card from under the jacket.

40
 9 and IO showthe change of theAceof Note 1. Startingfrom Figure I , the
Spades when sitting or standing at a table. trick is a logical sequence to Dai Vernon’s
The photographs at 9 and I 0 more or less “Twisting the Aces”, in which the Ace of
replace Figures 3 and 4. The following Spades plays the dominant role.
simple finish is now possible:-
The face up card in Figure 10 (Ace of 2. The trickis a very niceconclusion
Diamonds), is put under the face-up packet for an Ambitious Card routine. It is then
in the left hand. ne
packet is then turn- done as a fake explanation in slow
4 face-down and the four cards are dis- with only four cards, including the Am-
motion,

as in ~i~~~ 1 1 . The of bitious Card, the rest of the pack being

Spades so makes its reappearance face-up discarded. Patter should be along the
the in spread. lines, that with so few cards left,’the place
~ ~~~ ~ ~ ~ of honour for the Ambitious Card is not on
the top or bottom of the pack, but under
the performer’s jacket.

3. The trickcould be used instead-of

the production of the seventh card from the

’ pocket as described in the trick “Cards to

pocket” in “MoreInnerSecrets of Card
Magic”. The lucky owners of this terrific
Card Book will at once see what I mean. I
am not so conceited as to think that it will
be an improvement to the “Professor’s”
trick, but it is curious how exactly it fits in.

THE“MENTO”
D I C EA N DC A R DE F F E C T
B y GYRO
LOOKING THROUGH MY old scrap books, I came across this
effect writtenin ink, which is now almost faded. Written ,

across the top is “received from Prof. Alburtus (Cardiff, 1906)”.

Alburtus was a grand old trouper in the early 1900’s who had a
fine Hypnotic and Contact Mind Reading act, so, it is with pleasure
that I offer his card effect, which I venture
will be new to manyof the present genera- responding with the total resulting from a
tion. throw of three dice.
The spectator throws the dice on the
A spectator is asked to shuffle any pack table ; say the total of the tops is w e b -
of cards, then to choose one without re- performer with cards still behind his back,
moving it and to mentally note the number counts off the top ELEVEN cards (one less
it is from the top of the pack. The per- than the total of three dice), these eleven
former takes the pack and placing it behind reversed cards are now placed back on top
his back offers to find the chosen card and of deck. Performer now asks what num-
to replace it at a number from the top cor- ber the chosen card originally stood from

49
the top . . as an example, say the card was place them in bulk.
sixth from top . . performer brings deck to Many years later I elaborated onthe
front and starts counting at that number, above idea, discarding the cards and just
calling the top card seven, the next eight, using the three dice and a large school slate.
and so on until twelve is reached which will I found it made a first-class mental effect,
be the SELECTED card . . this to a layman note the throwsof the dice are a little more
is quite puzzling,but the performeris lead- complicated. . obtain four spectators,name
ing up to a much greater effect. them A, B, C and D, and chalk these letters
For the second time the spectator is re- on the slate. . turn your back and tell spec-
quested to note the number from the top tator “A” to throw the three dice and add
of any card he may fancy. But this timethe totalof the TOPS (it is best to give each
the performerhas his back to the spectator, spectator a pencil and paper to add up the
thus he is not permitted to see any result. totals) -now tell him to pick up.any TWO
Thethree dice arethrown,spectator dice and turn them over and add the BOT-
is
asked to count the total of the tops of the TOM spots to the total, now ask him to
three dice-this done, heis requested throw these same two dice and again add
to “pick up any one of the dice, turn it the TOPS to the total-now let him pick
over and add thenumber on the bottom to up any one of the three dice and turn it
the first total”. Having done this the spec- over and add its bottom spots to the total,
tator is asked to throwthis same dice again now tell him to throw this same dice and
and add its top number on to the total al- add its TOP number to the total- tell him
readyarrived at. A s an examplelet us to remember the total as you are going to
suppose the first throw was - 2,3, 6 - 1 1 . write a prediction on the slate-move to
Say the six ispicked up, the number on spectator “B” and proceed as a b o v e t h e n
the bottom will be 1 , which added to 1 1 likewise with the other two spectators.
makes 12, this dice is thrown again, and it The secret is this, to obtain the total a
turnsup 4 which, added tothealready simple piece of misdirection is done. After
arrived at 12, makes a grand total of 16. “A” throws the last single die, turn round
Up to now the performer has not seen the and note the total of the TOPS of the three
dice, performer turns round and quickly dice and mentally add twenty-one and this
adds up the total of the three dice TOPS, will give you his total-smartly pick up the
and mentally addsa further seven,this will three dice and drop them into the shaker
give the total arrived at by thespectator . .and hand tonext spectator, turn round and
no matter how the dice originally fall, this write total on slate against letter“A”, and
rule of adding seven will always give the proceed in like manner with theothers.
spectator’stotal.Having got this total, Example throw:- Three dice thrown,
performer now with the pack behind his say they come up 2-4-6- total 12, pick
back, reverses the uppermost fifteen
up 4 and 6 turn over, you get a 3 and 1
cards always one less than the grand total which total 4 . . 12 and 4 total 16. Throw
Spectator is now asked to say how many these two again, say they turn3up and top,
cards his was from the top, performer re- 5 which total 8, 16 and 8 total 24, pick up
marks “I will transfer it from that position any one dice (on the table is 2-3-5, say
to the number you arrived at by throwing he picks up No. 2 turns it over-you get 5 ,
the dice”. 24 and 5 is 29, throw this same die and add
Performer starts to count asbefore from its top, say itturnsupa 4, 29 and 4
the number thechosen card originally stood total 3 3 , on table is the three dice, whose
from the top, inthis case the sixteenth card tops are 5-3-4 . . you add these three,
is found to be the one selected. To reverse which total 12 . . mentally add your 2 1 and
the order of the top cards quickly, simply you get the required total33 . . always add
deal from one hand to the other the requir-2 1 to thelast three dice . trust I have made
ed number behind your back, and then re- this quite clear.

50
 “SPOT T H E SILKS”
EFFECT : Performer requests theassistance- of a girl
and bov. He next shows them two large pieces of paper and
folds eaih of them in the shape kf a cone
. . one has Red Spots on it . . the other
Green Spots. Working: Show
the
“Red” paper
empty, then form it into a cone . . place
He hands the cone with the Red Spotto Red Silk into it, pointing out that a Red
the Girl and the Green Spot to the Boy. Silk goes into the “Red”Spot cone . . place
He now places a RED SILK in the girl’s Green Silk intothe“Green” Spot cone,
cone, then a GREEN SILK in the boy’s and point out the “indicator” once again.
cone. At the word of command, the silks
are caused to change from one cone to the Make the “magic pass” . . you may, if
other. Performer now takes out the silks you like, “extract” an imaginary silk from
(remember the cones are still held by the one cone and “pass” it over to the other.
youngsters). This done in pantomime gives plenty of
scope for comedy . . you can drop it, etc.,
Performer now takes the two silks and etc. Itis a goodidea to get the boy and
from his table picks up another piece of
girl to “hold hands” . . you can get lots of
paper and folds it into a cone. He places
fun from this.
the TWO SILKS in this cone. “Presto”
performer opens his cone, the silks have
vanished. Requesting the boy and girl to
open their cones they find the MISSING
SILKS !!!
Apparatus: You need three “Tarbell
Cones” . . these are easily made from stiff
paper . . black is a good colour as it doesn’t
show the dirt! . . see the first illustration.
Bind the edges with coloured Selotape.
On one Cone you stick a large RED DOT
of paper on both sides . . on the second
“cone” you stick GREEN DOTS, the third
one you leave plain. You also want two
Red and two Green Silks . . either 12 inch
or 18 inch in size . . according to the size
‘L
of your cones”.

Preparation: Load a Green Silk into

the secret pocket of the cone with the Red
Spot . . and a Red Silk into the cone with
the Green Spot.
51
 The silk from the other cone is “passed”
in a similar manner. . Then reach into, say,
the Red cone and take out the Green Silk
(this of course, comes out of the secret
pocket). CO totheGreen cone andthe
Red Silkis taken out(this, of course,
comes from its secret pocket, too).
The “plain” paper is now shown to be
empty, formed into acone and the two silks
placed into
the secret pocket.
Another couple of magic passes (done
in “pantomime” if YOU wish), the “plain”
cone is opened to show the silks have van-
ished . . the assistants are invited to open
their cones and there are the missing Silks
. . each mysteriously found in their proper
cones.
This effect can also be used by the silent
performer . . instead of assistants the cone
can be placed into tumbler or vase . . or a
stand made of wire.

THESTRETCHING SPILL BY TOM SELLERS

EFFECT: You show a piece of folded paper half an inch
wide, and four and a half inches long. After stating that the
paper has the peculiar quality of elasticity which allows it to
be stretched without tearing, youproceed to stretch it to
double its original length. But the spectators think (and
rightly so), they see how it’s done.

However, you give the paper a fold, then open it out again
toshow it. The spectators are still unconvinced until you
finally open
- - the folds out, showing that there is nothing to
I

see except the piece of paper which can be

examined. 0 REQUIREMENTS :
A piece of paper nine inches long and
one and a half inches wide. This is fold-
ed in three, length-wise-see Figure 1 .
You now take another piece of paper
four and a half inches long and one and a
half inches wide and wrap it round the long
piece, which had been previously folded in
half-see Figures 2 and 3. You can have
this in your breast pocket or on your table
till you are ready to perform.
0 METHOD:
Take thepaper and hold it upright in the
left hand, the first finger and thumb cover-
ing the overlap. Now start pulling the
paper, first at the top then at the bottom.
When‘pulling from the bottom you pull a
little of the folded piece out of the outer
sheath.When fully out you shouldbe
holding ’the paper perpendicular, with the
finger andthumb covering the join. At
this point the spectators will surmise (right-
ly) that you have two pieces of paper
and that you are covering the join with
your finger.
Bend the top piece (the sheath) right
down to the front till it lies flat in front of
thelong piece. Fold all in half towards
you, then turn the paper horizontal and
as you apparently crease it down, leave the
outer sheathin the right hand thumb crotch
(sounds like a Billet Switch). A s you
bring the long piece to view, hold the paper
upright again, open up the first fold, then
the second fold, holding it at the centre as
if you were still holding the join.Hesi-
tate here for a second or two, then open
out the folds showing it to be just a flat
piece of paper which you can hand out or
pocket with the other piece, just as you
wish.

Foo-Lota-Vases
BY THE LATE
HAROLD C. BEAUMONT

The Production of
water from the lota
vase, has always been a
good comedy repeat
number and I think the
' following addition im-
proves the effect- and
adds a little variety.

Three vases are seen upside down on

the magician'stable. The performer in-
verts the vases and pours water from No.
1 into No. 2 which is visible to the
audience. He thenapparently pours the
water from No. 2 into No. 3, but no liquid
is seen to come out of No. 2. This is re-
peated at intervals and for the climax,
water is poured from No. 3 vase into Nos.
1 and2.

The three vases are all the same size and

lookalike. No. 1 is the usual lota vase,
Nos. 2 and 3 are Foo Cans. No. 3 is, of
course, loaded with water as is No. 1 .

0 Subscribe to
HUGARD'S"MAGICMONTHLY"
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53
IMPROMPTU ROPE
THROUGH NECK
By the late HAROLD G . BEAUMONT

THIS PENETRATION of the neck is

quite effective if performed smart-
ly and is a good lead in to any version of
the Grandmother's Necklace.

You require a piece of soft rope about

thirty-six inches long, hold this in both
hands, each handabout six inches from
each end. Place the rope around the neck
bringingbothhands together untilthe
knucklesaretouching each other.Give
one or two sharp pulls on the rope with
both hands, and as you do this, hook the
left thumb under and roundthe rope in the
right hand. Hold this and release the rope
in left hand which will quickly fly round
the neck as you move the hands forward.
Open the hands and tighten the grip with
left hand as itreaches its original position,
that is about six inches from the end. The
above combination of moves is carried out
as you give a good final tug on the rope.
Try it out, it works well and is extremely
simple to perform.

0 BOOKS
FROM
AMERICA
THE MAGIC
For a lifetime,
Matt
OF MATT
Schulien delighted
the
SCHULIEN
public with his magic.
Sensational and subtle ways of discovering the selected card. A couple of dozen are
included; we guaranteetheiraudienreimpart!Other Schulien specialities in-
clude his knife routine, sponges, cards and cigarettes, Crazy Poker Deal, Counting
the Cards, Eating the Bold-fish, Half in t.he Bottle, his Mental Routine, etc. His
quick tricks and gags are 3 bartender's delight-there is so much in this book t h at
is a delight to any close-up man! Illustrated with actual photographs by Fahian,
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Price - 35/-

0 A 100% MAGICAL
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.- . . h i c e e t e r Square or Tottenham Court Road, TubeStation
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Telephone - GERrard 5409
Callers please Note - Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday - 9 a.m. to 4 p.m.

54
 UNIQUE
FILM TOUR unpacked our bags at the hotel when Jean
Capacity crowds greeted us in Birming- Bhownagary ’phoned to say that profess-
ham and Manchester. Ken was in his ional magician Ludow was on his way to
usual great form and “wowed” the boys in collect us for lunch. To Billy’s great de-
no uncertain fashion. Thanks for great light, Ludow (who used to be a racing
.
help are due toTony Shelley. Jack Morri- driver), drove us with hair-raising speed
son ..Will Norman (who did a great job across Paris to be greeted byJean, his
projectingthe films for us) and Ken de charming wife and two small daughters.
Courcy (Editor of “TheBudget”) who Aftera fine meal we talked magic and
performed his routinefor“Note Under Ludow mentioned that he was now doing
Cup” published recently in “The Gen”and the Vernon Rings Routine in his regular
“Eternal Triangle”. act. By sheer coincidence ( !) he had
rings with him and without me having to
WORTH-WHILE “break his arm”, was persuaded to give
The tour proved most definitely that we an impromptu show. . and very fine it was,
are right to keep banging away at magi- too. It’s quite a featto learn a magic
cians to learn “natural magic”. To be a routine in a foreign language . . try it some
good magician, it is essential thatone time! His card work is excellent . . I par-
should be able to do tricks with small ob- ticularly liked his use of our “Five Star
jects readily to hand, any time, any where MiracleWallet” . . it’s a knock-out ! He
. .and it’s almost as easy to learn the worth- later drove us round the town
while stuff as it is the “junk”. So many
of the tricks advertised today are just SEEING THESIGHTS
I had done it all before, but must confess
FIVE-MINUTE WONDERS that it still gives me a thrill . . Paris is one
tricks that are dead and done with soon of my favourite cities with its tree-lined
aftertheyarebought. We prefer magic boulevards . . greatsquares . . beautiful
of the masters like Vernonand Slydini. churches and buildings. The evening was
and other professionals whose effects have devoted to the
stood the- test of long performance. I
was reminded of this a few minutes ago “ASSOCIATIONFRANCAISE des
when Andy Dalziel ’phoned from Edin- ARTISTES PRESTIDIGATEURS”
burgh,asking me to send him the new their association of professionals and
Vernon Card Book. He had just returned amateurs,withmanv affiliated societies.
from Africa, where he said the magic of The President, Dr. Dhotel, a lively young
Vernon and Slydini had enabled him to 83 years old and his charming wife,met us
have the .greatest ever time of his life . . . on our arrival at their club room. He pre-
‘L
I’ve done their magic in almost every sented me with a nice token-of their “ap-
hotel in East Africa . . had a wonderful timepreciation for my work in magic”. I had
and earned good money!”. taken justafew of our films, intending
them to pick three or four of their fancy for
PAREE a nice little programme. Butaftertwo
Despite reports of bombs and bullets had been shown they asked us to go
flying around, Rita, Billy and I flew to the through the lot and we didn’t finish until
Gay City for a short holiday. Thanks to after midnight!
the wonderful hospitality of our magical Nobody left before the end andthere
friends, we returned needing a fortnight’s were frequent outbursts
of applause
holiday to get over it!We had hardly throughout, so theymust have enjoyed
55
every minute of it. I know the venerable Cold Fish Catching Trick and Production
doctor did, for everynowand again he of Cards with gloved hands. I got most
‘,
mutteredto me, magnifique” . . fantast-
‘S

pleasure from hearing the audiences gasps

ique”, etc., etc. They thought Ken’s work of surprise at the magical appearances of
was “formidable” and Lewis’s photo- the cards . . they must have come from
.L

graphy “splendide”. the country” . . you could never get this

Dr. Dhotel finally thanked me in a sort of reaction from hard-bitten town
speech later translated by Jean Bhownag- folk !
ary . . it made me blush, despite the fact
that I agreed with every word he said ! ! Our next “host” was . . .
As with every magic meeting, the boys MAYETTE.
later gathered in a nearby cafe for the ine- Leading magic dealer in France . . pub-
vitable post-mortem. Our old friend lisher of the handsome magazine “Le
KeithClarke (whonow lives in Paris), Magicien”. His shop is bright, colourful
then entertained us with stories of his ex- . . and very orderly! The demonstrator
periences during arecent tour of the Middle is a lady who is good looking . . and effic-
East . . l laughed till I cried. A great ient.
magician . . and story-teller ! In amore
serious mood we discussed the performance We later adjourned to the beautiful flat
of magic . . I love listening to him, for there above the shop to meet his delightful wife
is no one I know who can talk as intelli- and son Max.
gently about this important .subject, as can
Keith. We got back to our hotel in the Many magical paintings adorn the walls
early hours and begged our friends to be and one treasured possession is a Robert
“inhospitable” for the next day or so in Houdin Clock . . there are said to be only
order that we could do three in existence. Enclosed in a tall glass
case the handsome clock keeps perfect time
A LITTLE SHOPPING . . but, with no works in d e w . .how it goes
Thank goodness Rita thought, that apart is quitea mystery. Afteran excellent
from a few things, prices are muchcheaper meal, son Max . . performed Slydini’s
in London . . so I was let off fairly lightly! “Paper Balls in the Hat”and “Coins
I then remembered a “must” for any magi- through Table” . . very nicely indeed. It’s
cian visiting Paris, the always a pleasure for me to see chaps per-
forming the magic I publish.
MUSEE CREVIN.
Not very well advertised, therefore easily Up to now the weather had been won-
missed by the uninformed, our special in- derful but as we were about to leave Paris
terest was for two of its features . . “Le the rain came down . . in bucketfulls . . so
Palais des Mirages” and “Le Cabinet Fan- we got out in time! . . That’s luck for you
tastique”. The former is aroom full of . . or is it magic?
mirrors, which with clever lighting, shows
everchanging scenes . . most beautiful and RECOMMENDED BOOKS
fascinating to watch. The other feature
is a performance by a magician in a nice
I have advertised lots of books this
little theatre. The artiste, Yves deSaint- month because I think good books are
Lary was dressed asan old-time court essential to a magician . . also summer time
magician, and gave a twenty-minute show. is a good time to “browse”. Having often
been asked to recommend “best books to
His hand movement andgestures are de- buy” . . I’ll take the plunge with a list I
lightful . . the magic, quite good, featuring consider a “must” if you take a serious in-

56
terest inmagic. Theycontainthe wide has only to put out or publish a successful
basic knowledge that will enable you to be new trick, whereupon we are soonflooded
an equal in any company and you will with “improvements”. It seems tome
never be short of goodtricks. You must that too much thought is being given to
64.
possess these books . . it’s a waste of time Improving” effects that are already avail-
borrowing them from your society, library able . . and not enough to new effects.
or friends for a casual glance for a week or
two . . you must havethem on hand toread Audiences are interested only in the
and consult whenever you have some time effect . . they don’t care two hoots about
to spare. the method you employ to bring it about . .
and unless the clever chaps who use their
Tarbell Course, 6 volumes . . Dai Vernon brainsto
‘6.
Improve” tricks, spend more
..
Book of Magic Slydini Book of Magic ..
time inventing new effects, we won’t get
RoutinedManipulation parts 1 and 2 and anything really new but only a dreary pro-
Finale .. Encyclopaedia of Silk Magic, 2 cession of “re-hashes”.
volumes . . Greater Magic ..
Bobo’s Mod-
ern Coin Magic ..Erdnase The Expert at FILM HIRE
.
The Card Table. Dai Vernon’s InnerSec- Societies and magical groups are waxing
rets of Card Magic, 3 volumes. enthusiastic about magic-film programmes
hired from us . . typical is a letter from
At first glance, it may seem that itentails DennisVickery, Hon.Secretary of the
a pretty hefty outlay . . but, in my opinion, Devon Magic Circle who writes . . “Every-
you will get your value fromthem ten-fold. one present enjoyed every minute of the
You can get them gradually . . or take ad- programme. Thank you and congratula-
vantage of our credit scheme . . particulars tions”. We havetwoprogrammes avail-
of which I willgladly send you. Next able for hire, each giving an excellent
month, 1’11 give you a supplementary list evening’s entertainmentandinstruction.
to the above. Happy to send you details.

WHAT’S NEW? All the best,

During the past couple of years I have
noticed a dangerous trend in magic. One HARRY.

<g BOOKS FROM AMERICA

KID STUFF Volume 2 BY FRANCES IRELAND MAFISHALL

KidStuffVolume One has almost sold through its secodd printing4laimed by all as a treasure
house of material for children’s performers. KID STUFFVOLUME I1 is a worthy-sequel. Loaded
with auhence-tested tricks routines, patter,
ideas,
suggestions. Features : Mickey Mouse’s
Magic Shop“ byBobLotz. ’ A completely routined show for kids, using standard apparatus-com-
plete even to how the equ’ipment is’packed. Tai’lor-madefor any magician to just go ahead m d
use. Thisis the famous act performed by BobLotz b r years in Chicago, when he was the highest
paid kiddie‘s entertaker in the country. He left this lucrative field onlyfor a better pmd one-
- insurance, in which he is now most successful.
“The Railroad Trit” by Capt. Louis N. Bertol. Another complete showfor kids this time with all the wonders of a
journey, including m n g their tickets punched I Magic in a newguise - - veryspecial 1
“The Magic Laundry”by Bruce Posgate,Canada‘s famous Uncle Bruce. children’s mauician. A screaminglyfunny
act in which the“decorations” for the party fall down, w d have to be “washed”. The cornulications are wonderful!
He got roars with it a t Buffalo. Complete in this book.
Material by Johnny Giordmaine, Tommy Windsor, JoePalen, PLUS a section on patter for kids on standard tricks
by FrancesIreland Marshall, and other things, A “must” for all who work for kids-or hope to.

Price - 21/-

57
11 e BOOKS FROM AMERICA
EXPERT at the CARD TABLE
S. W. Erdnase by

The whole subject of sleight of hand with cards-the basis of all other manipulative
card books. Thisisthesource book, theexplanation of t h e science of card magic.
A11 card experts start n.ith this book, or find they must turn to it at a point in their
study.
Cloth bound, 218 pages, 101 illustrations.
Price - 14/-
No. 148lB-KID STUFF (Ireland)
Check the contents of .Kid Stuff.
Complete routines and patter, all audience-tested, using equipment most magicians
have. Sa.fety MagicforKids. Hon. to createsuch a show, suggestedtricksand
patter, what othersaredoing.FirePrevention Magic forKids. Clown Magic.
Make-up, costume, tricks,
gags,
walk-arounds.Punchand
Judy-bridge
table
version. Selection of suitabletricks for kiddie's shows. Thelecture on playing
kiddie's shows that has delighted hundreds of magicians. How t o obtain the greatest
satisfaction out of yourkiddie's show. And more!This is a completehandbook of
tile a r t of working for children, written by an author who is constantly doing just
that. A illustrated
printed, book. Price - 14/-

It Must be Mindreading by George B- Anderson

A great book on mental magic. Raved over by allmagic critics and journals. By
a famous radio and T.V. writer
wllo knows show business and mental magic. Differ.
entfromanythingyouhaveeverread.Includes:TheFirstPrediction, No Ques-
tionsWritten,Easy Money Blindreading,PlayingCardMindreading, Torn Centre
De Luse, Palmistry VS Mindreading, Best Billet Switch, Getting the Impression (a
terrificonemanroutine!), SealedEnvelope, OneMan Clip Board, Alibi Answers,
Vital Spot in the Question Act, Truth or Consequences Prediction, Mental Illusion,
Mental Artist, Do as I Do Book Test, No hands Book Test, Human Eguation, Mental
Card Magic, Card Muscles, Ultimate Prediction, Pocket Mindreader, Crystal of Future, How to Make
'[Coney FromMental Magic. Bibliography. All one manstuff!Printed,Illustrated.
Price - 14/-
DON U N THE GREAT SUCCESS ON T.V. recently of thisfamous
American Entertainer, brought many enquiries about his books
. . here are themostpopular.They are the tricks performed by him during
years working inChicago a s a magical bar tender followed by his own T.V. series.
Every one of the tricks are a proven success before i t ever hit the books !

"PRETTY SNEAKY IN
48 printed illustrated pages of Close-up tricks with cards, ball, coins, a ball-point
pen, pins, string, a. lump of coal ( !) and various other items.
Price - 14/-
"CLOSE UP TIME IN
More close-up magic with t h a t "fresh-new-look" . . Flash production Sponge Ball,
Wax in Matchbox . . Bill in Orange . . Bread Sandwich . . Keep your I on your Hat
, . Time Riffle Force . . and many other cute tricks and gags.

Price - 8/6
~ - - - - - - -

20 Stunners Frank
With a Nail Writer
Chapman.
by
A nail writer is a small secret device obtainable from us for 31-. It permits you t o
write secretly, and Twenty Stunners gives you a wide range of tricks to use i t for.
These are startling stunts in mind readingortelepathy,uncannypredictions,etc.
Among the tricks are Two Way Telepathy, Is I t Telepathy, Music in the Air, Quick
or the Dead, Long Distance Telepathy, Whispered Selection, Easy Card Prediction,
Word for Word, Via Telephone, Easy hfark. etc. A printed, illustrated book of 28 p p .

+l
Price - 7/-

58
I
..:... BOOKS
FROM
AMERICA . .
(7: .....
ROBERT ORBEN PATTER BOOKS
The patter books that are used by professional show people everywhere
SPOTLIGHT ON
..
COMEDY
The LA'IEST FROM ORBEN a wealth of useful material.
Price - 14/-
Theentireseries of thefamousORBENPATTER BOOKS are now
Bound together in FOUR separate VOLUMES they make a fantastic ..
.
collection of Patter . Gags and Bits of Business.

THE COMPLETE COMEDIAN'S ENCYCLOPEDIA - VOLUME 1.

A well-hound Volume containing the first ten hooksof Robert Orhen's hit comedv series: The Encyclo-
pedia of Patter, Patter Parade,Magk-Dotes,ComedyCaravan, Patter for Standard Tricks,Profes-
sional Patter, ClassifiedComedy,ComedyTechnique,One-liners, andTheProfessionalComedian's
Source-Sook. Contains 128 comedy routines, over 8,OOO one-line gags, 527 p r h t e d pages ! These ten
books would be f4/18/- if purchased individually. In this boundvolume they are just f4/5/-.
.......................................... ..................

THE COMPLETECOMEDYENCYCLOPEDIA - VOLUME 2.

Five more hit Orben hooks in bound form. 343 pages consisting of Flip Lines, Bits, Boffs and Ban-
ter, Ad-Libs, Sight Bits, and Emcee Block Busters. Contains thousands of sizzling lines ready for im-
mediateperforming. f4/11/- if purchased one hook a t a time, hut in this solidly bound volume only
f4/5/-.

THE COMPLETECOMEDYENCYCLOPEDIA
The last five Orben books in one hard-covered
volume. 440 pages consisting of Screamline
- VOLUME 3.
Comedy, Working Comedians'Gag-File, M. C. Bits, Laugh Package, and BlueRibbonComedy.Over
5,600 gagitems, with theaccent on ad-libs, hits of business, emcee lines, andnight clubcomedy.
These five books would he f4/11/- if bought separately. In this hard bound edition you pay only f 4 / 5 / -
...............................................................................................................................................................................................................
THE COMPLETECOMEDYENCYCLOPEDIA - VOLUME 4.
Thefinal five books of the Orben Series in bound form. Over 3GQ printedpagescontainingTag-
lines, Boff Bundle,Rapid Fire Comedy,CrackComedy and the ExclusiveComedyFile.Ahugeand
uproariousarray of thousands of 'Gags, Giggles, Howls,andScreams. Get this last volume now and
round outpour collection of Orben hilarity. Only f3/10/-.

IRELAND
YEAR BOOK 1960
Loaded with a variety of material forevery taste. Mentalism, PatterPresenta-
tion, Money, Linking Silks, Balloon Creations, Milk Vanish, Kid, Parlour and Stage
Tricks.Over 50 items.Tricks of all kindsandin all categories.Softboards,
7 2 over-sized pages, well illustrated .Price 17/6d. -_
..................................................................................................................................................................................................

Fascinating collection of tables for the

THE TABLE BOOK magician.
Complete
building
your
directions
for
own. Many practical
suggestionsandideas easily incorporated in anymagician'stable. A11 sizes and
shapesare covered. Thirtytablesare described. Well illustrated,spiralbound,
forty-eight oversized pages. - Prize E l .
..............................................................................................................................................................................

COMEDY A LA CARD
Crazy card routines have delighted magicians and laymen for years. Now twenty-
three of thefunniest,illustrated . . Twenty-eight pages - Price 14/-.
0 DON’T MISS THIS GREAT OFFER !

“STARS O F M A G I C ”
By arrangement with LOUIS TANNEN,New York, U.S.A.
P R E - P U B L I C A T I O N OFFER

0 Consider this advertisement as a

GIFT FOR SEVENTEEN SHILLINGS and SIXPENCE
This is my way of introducing to you one of Magic’s greatest books, “ THE STARS OF MAGIC ”,
by soma of the “Greats in Magic”. The original mas published inloose form as per details below and
sold for overthirty-twopounds ($94.00.). Now i t isbeingre-printed as a regular 8: ins. by 11 ins.
Hard Cover Book, with hundreds of illustrations by ‘George Karger.
Date of publicatian . . end of July . . Price, E4/7/6d. ($12.50.). However, you can send f3/10/- ..
mention this offer . . and save yourself seventeen shillings and sixpence . . but you MUST DO IT NOW!
This offer expires 31st August, 1961.
The book is sent direct t o any address in the World and should arrive bl- tllc end o f August.

Rememberthisis a SpecialPre-publication offer - E3/10/-.

No. 1. SCARNESERIES: No.

7. DR. DALY SERIES:
l-Classic
Routine
Ball .......................................... $3.00. l-Cards U p the Sleeve...................................... $5.00.
2-Silver and Copper Coin Routine...........$3.00. 2-Itinerant Pasteboard ...................................... $3.00.
&Triple Coincidence Card Effect ..................$1.00. &Cavorting Aces ........................................................ $3.00.
...........................................................................................

No. 2. 1 s t DAI VERNONSERIES:

l-Triumph Card Miracle .................................... $2.00. No. 8 SLYDlNlSERIES:
2-Cutting the Aces ................................................. $2.00. l-Miracle Cigarette, Torn & Restored $5.00.
L-Spellbound, Coin Routine.............................. $2.00. 2-Flight of the Paper Balls, Hilarious $3.00.
4-Kangaroo Coins, Coins Thru Table...... $2.00. 3-Flyaway Coin Routine ............................... $2.00.

No. 3. ALLERTON, HOROWITZ, JARROW

SERIES: No. 9. ROSSBERTRAM ON COINS:
l-Ban~boozle Money Magic........................... $1.00. L-Five complete feature coin effects.
It-Pump RoomPhantasy,Card Gem ......$1.00. Rubdown, Doublecross, Passing
:LEgyptian Ball Mystery ................................... $1.00. the Half backs. The Porous Pan,
4-Chink-a-Chink, SuperbTable Effect ......$1.00. Coin Assembly. 12 pages.
6-Hanky Panky, Cigarette Penetration $1.00. Complete ...................................................... $8.00.
...........................................................................................

No. 4. CARLYLESERIES:
l-Decapitation, Alatch Wimrdry .................. 81.00.
No. 10. VERNON ON MALINISERIES:
2-HomingSensation
Card ................................. $1.00. :<Miracle Kffects, Malini’s Own Colour
:&Wrist Watch Steal and Coin Routine $2.00. Change, Impossible Vanish of a Coin
.......................................................................................
and BlindfoldCardStabbingTrick.
No. 5. 2nd DAI VERNONSERIES: l k 4 l with the famous Malini touch.
I-Cllps and Balls Routine Impbomptu $5.00. Complete. .................................................................... $10.00.
2-Ambitious Card, Terrific.. ....................... $2.00. ......................................................................................
: L M e n t a l Card Mirncle....................................... $3.00.

No. 11. VERNON ON LEIPZIGSERIES:

No. 6. 3rd DAI VERNONSERIES: 4 Effects,Leipzig’s opener and Leip-
I-Ring on Wand,SixImpromptu zig’sAcrobatCardSensation.Stack
Methods............................................................. $5.00. of coins thru
hand
and
torn
and re-
2-Slow Motion Four Aces.............................. ...$4.00. stored
cigarette
paper.
Masterpieces
;&The Travellers, Card Feat .................... $3.00. of Magic. Only ................................................... $10.00.
 DON’T MISS THIS GREAT OFFER !

“STARS O F M A G I C ”
By arrangement with LOUIS TANNEN, New York, U S A .
P R E - P U B L I C A T I O NO F F E R

0 Consider this advertisement as a

GIFT FOR SEVENTEEN SHILLINGS and SIXPENCE
This is my way of introducing to you one of Magic’s greatest books, “ THE STARS OF MAGIC ”,
by some of the “Greats in Magic”. The original was published in loose form a s per details below and
sold for over thirty-two pounds ($94.00.). Now it is being re-printed as a regular 8; ins.by 11 ins.
Hard Cover Book, with hundreds of illustrations by George Karger.
Date of publication . . end of July Price, f4/7/6d. ($12.50.). ..
However, you can send S3/10/- . .
mention this offer . . and save yourself seventeen shillings and sixpence . . but you MUST DO IT NOW!
This offer expires 3 1 s t August, 1961.
The book is sent direct to any address in the World and should arrive by the end of August.

Remember this is a SpecialPre-publication offer - f3/10/-.

No. 1. SCARNESERIES: No. 7. DR. DALY SERIES:

l-Classic Ball Routine .......................................... $3.00. l-Cards Up t h e Sleeve......................................... $5.00.
2-Silver and Copper Coin Routlne............ $3.00. 2-ltinerant Pasteboard ......................................... $3.00.
Wl’riple Coincidence Card Effect ..................$ 1.00. %Cavorting Aces........................................................... $3.00.
................................................................................................

No. 2. 1st DAI VERNONSERIES:

l-Triumph Card Miracle .................................... $2.00. No. 8 SLYDINISERIES:
%Cutting the Aces................................................. $2.00. l-Miracle Cigarette, Torn & Restored i $5.00.
;)-Spellbound, Coin Routine.............................. $2.00. 2-Flight of the Paper Balls, Hilarious $3.00.
&-Kangaroo Coins, Coins Thru Table......$2.00. 3-Flyaway Coin Routine.................................... $2.00.
.....................................................................................
No. 3. ALLERTON, HOROWITZ, JARROW
SERIES: No. 9. ROSSBERTRAM ON COINS:
l-Bamboozle Money Magic .............................. 81.00. l-Five complete feature coin effects.
%Pump Room Phantasy, Card Gem ......$1.00. Rubdown, Doublecross, Passing
3-Egyptian Ball Mystery .................................... $1.00. t h e Half backs. The Porous Pan,
4-Chink-a-Chink, Superb TableEffect ......$ 1.00. Coin Assembly. 12pages.
5-Hanky Panky, Cigarette Penetration $1.00. Complete ............................................................... $8.00.
................................................................................................

No. 4. CARLYLESERIES:
l-Decapitation, Match Wizardry .................. $1.00.
2-Homing Card Sensation.................................... $1.00. No. 10. VERNON ON MALINISERIES:
&Wrist Watch Steal and Coin Routine $2.00. 3 Miracle Effects, Malini’s Own Colour
Change, Impossible Vanish of a Coin
and Blindfold CardStabbingTrick.
No. 5. 2ndDAIVERNONSERIES: Eachwiththefamous Malini touch.
l-Cups and Balls Routine Impromptu $5.00. Complete. ........................................................................ $10.00.
2-Ambitious Card, Terrific ............................. $2.00.
&Mental Card Miracle ......................................... $3.00.
No. 11. VERNON ON LEIPZIGSERIES:
No. 6. 3rd DAIVERNON SERIES: 4 Effects, Leipzig’sopenerand Leip-
l-Ring on Wand, Six Impromptu zig’s AcrobatCardSensation.Stack
Methods ............................................................... $5.00. of coins thru hand and torn and re-
2-Slow Motion Four Aces.................................... $4.00. storedcigarettepaper.Masterpieces
3-The Travellers, Card F e a t ........................ $3.00. of Magic. Only ............................................................ $10.00.
 e.
Dr. JULES DHOTEL was born on the 16th November 1879
and as he has been interested in magic for most of his life, the
number of years alone would enable him t o claim exceptional
experience. But the Doctorhasnot only practicedmagicfor
his own enjoyment, but has continuously worked for its better-
ment by imparting his knowledge t o others through numerous
publicationsandlectures.Ifhehaddonenothingelsebut
write “Magic with Small Apparatus”, thenhe would have
assured for himself a special place in magic’s Hall of Fame, for
t h e work is in eight volumes which total some 3,300 pages I
The Doctor holds many special honours and awards, and for his work in medicine, is Chevalier de la Legion
d’Honneur. During the 1914-1918war he was decorated with t h e Crois de Cuerre. His interest in A& is shorn
by his membership of t h e Societe des Artistes Fran Cais (Sculpture Section) and in magic he is President of t h e
“Associatian des ArtistesPrestidigitateurs”. ThispremierFrench MagicalSociety wasfoundedin 1903 and
its 600 membersconsist of professionals,semi-professionals andamateurs.Itsaimis t o develop t h e A r t of
MagicinFranceandthroughoutthe world, tounitemagicians,toprotecttheirinterestsand come their
assistance in times of sickness or distress.
For thirty-four years Dr. Dhotel has directed the policy of t h e Journal Prestidigition . . he is honorary Mem-
ber of many Magical Societies and is a former President of the International Federation of Magical Societies.
Not only in France but throughout the entire world,Dr. Dhotel is known and respected by his fellow magi-
cians and it is indeed a great pleasure for us to have him on our cover this month and raise the “Gen Glass”
t o the health and happiness both to him and Mrs. Dhotel who contributes so much to her husband’s work.
Due to extreme pressure of work I was not able to be with Harry and Ken on their recent Film Tour. I
certainly did miss the fun and good fellowship which are such a feature of all of Harry’s promotions and have
been green with envy whilst reading the reports. However, I do get the pleasure of’sitting behind the camera
when t h e films are being made and as there are more scheduled for production, then I feel t h a t I am not entirely
missing i t all.
An interesting letter from the Rev.Geoffrey Fiennes of Northern Rhodesia gives us more information on magic
on film, for he can hark back to the St. Georges Hall of the twenties when he witnessed t h e “Magical Revues”
produced at that time. It was eitherin“HeyPresto” or “HulloMaskelyne”in which Stephanie Stephus
was t h e leading lady. H e r first introduction was by way of t h e screen, which was hanging about middle-stage.
She walked on apparently a s a photographed figure projected on the screen and took out a cigarette and placed
i t between her lips. Clive Maskelyne, standing in person in front of the screen produced a lighter and brought
it up to the cigarette on t h e screen. The effect then was t h a t the lady stepped from t h e screen t o become flesh
and blood . . smoki.ng the cigarette.
With the great interest today in cine-photography and the excellent apparatus availableat such resonable cost,
Some enterprising magician is soon going to make more use of it in the performance of magic.
See you later,
LEWIS GANSON.

CONTENTS - - - ---
From the Cen Desk - Lewis Ganson ...... Card
63 Through Handkerchief
(Modern Version) - Rink ............ 75
“Little Miss Muffet” ........................ 64
pI A Prediction Miracle - Jesse Demaline ...... 76
Sticky Both Sides - Ken Brooke ............ 65 ”

Boston Two-step - Alex Elmsley ...... 77

Slip Simplicity - John Bragoli ............ 69
A Card Penetrates the Body - Tom Sellers 79
Miniature Co-incidence - Ravelle & Andree 70
An In-Between Card Prediction - Tom Sellers 79
“I’ve Got I t Taped” - Ken de Courcy ...... 71
Miracle Wallet .............................. 80
Lewis Ganson Explains -
Frederica’s “Mexican Gamble” _.._.. 73 Review - Harry Stanley . . . . . . . . . . . . - 81

THE GEN is published on t h e 10th of each month by HARRY STANLEY, 14, Fr% Btreet, London, W . l . -
Single Copies : 2/6: Twelve monthssubscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription 54.00.
Editor: LEWIB GANBON. Art Editor: DENNIB PATPEN.
 “ L I T T L E MISS MUFFET”
THIS IS A jolly nice trick for the younger kiddies. If you
are a dab with brush and paint, will it
be easy foryou
to make this up for yourself . . if not, you may have a pal or
V local artist do it for you. Use cards about “Jumbo” size . .
or larger, if desired.
YOU need two “Miss Muffet” cards-
one “Curds and Whey” card (with pocket
on back)-one “Spider” card and onecard
with “Gone” onone side and “Really
Gone” on the other. . the illustrations give
you the idea.

Set-up: One MissMuffet card is plat-

ed under the coat or wherever you decide
that she shall make her appearance, The
00 other cards are stacked face up as follows:
First the Gone card with the Really Gone
Ohe‘SpldG u r d side up,nextthe Spider, thenthe Curds
and Whey, and finally Miss Muffet.
n Presentation: Pick up and fan out the
cards, keeping the “Gone” card hidden be-
hind the “Spider”. Hold cards in left hand
and as you recite “Little Miss Muffet, sat
on atuff et” take Miss Muff et and place be-
hind the next card (actually part way into
thepocket).As you say “Eating her
curds and whey”, takeboth cards and slide
them behind the “Spider” and hidden
O w ’ Curds’ cad ~ ~ podcet
t k O C ~b a c l < l ‘‘Gone” card. As yo; say “There came a
big spider, Who sat down beside her, And
frightened Miss Muffetaway”, pointto
the Spider, close up the cards (forcing Miss
Muffet right into the packet) turnover the
stack and show first the Spider, back and
front, then the Curdsand Whey, leaving
you with “Gone” in thelefthand. It
seems obvious that Miss Muffet is on the
back, and all the usual “turn-around” gags
can be worked before showing the “Really
Gone” side and then producing the dupli-
cate “Miss Muffet”.

64
 S T I C K Y BOTH S I D E S - - -
KEN BROOKE

THERE IS A special adhesive plaster which has a sticky

surface on bothsides. It is used mainly by those who
havetowear a wig. If you havea wig-maker in yourtown,
he’ll fix you up with some,otherwise, go to a decent chemist’s
1-1
shop and they should be able to help you.
Believe me, it’s worth hunting down, asit
is wonderfully useful in magic.
I give you several workable stunts,
ruses and complete effects, all of which are
extremely simple toperform.Many of
the items are worthy of inclusion in any
act. Try them all and see which suits you
best.
The adhesive is very powerful and will
retain its value for a long period. A very
tiny piece will do the same work as a much
larger one, therefore don’t waste itby em-
ploying more than is required.
Let’s imagine yourequirea piece a
quarter of an inch square. Cut this amount
away from the strip and then take linen the
protection off both sides. DON’T remove
the linen from the entire strip.

e ANY MAGAZINE OR BOOK A

SWITCHING TRAY:
A seconds preparation. Attach a small
piece to the underside of a magazine or
book. Let’s imagine you wish to switch
one envelope for another. Have the load-
ed envelope inside the magazine or book.
Receive the dummy on the magazine and
as you call attention to it,press it firmly on
the adhesive. Now take hold of the maga-
zine by the corner furthest awayfrom you 8 THE RISING CARDS:
and tip themagazine onto thetable or onto
your other hand. The adhesive holds the Tom Sellers once invented a method of
dummy in place and the loaded envelope doing this trick which certainly looks un-
falls outontoyourhand ortable. Drop canny if the conditions for its performance
the magazine on the table so that the dum- are correct.
my is hidden. Attach a tiny piece of adhesive to the
Almost any flat object such as a coin, end of your wand. Cards are selected, re-
card, etc.,, etc., can be switched in this turned and brought to the topof the pack.
fashion. Wand is held under the left arm, adhesive

65
 When you take the pack, you had the

l Double -s\ded tape or\ the ewd 2 fake coin finger-palmed and took the lib-
erty of sticking it to theface of the bottom
card.

Pack shuffled, keeping what is now a

Key Card on the
bottom. Any card
selected. Undercut the cards that remain.
Selected card replaced on one half, other
half (with key card on bottom), is drop-
ped on top. False shuffle or mix them so
that thekey card does not leave its partner.
To find the selected card hold the complete
pack in the left hand and witha loose
throwing action throw some cards (don’t
worryabout how many),into the right
hand. The pack will break at the key card
and the chosen card willbe the top card
of the cards that remain in the left hand.
Left h a d slowly lowers h
te pack
!& The above is ideal for use with the Ris-
0

ing Cards just explained. Play about with

it andyou will finddozens of combinations
endtofront. Hold cards inlefthand, are possible.
bend the elbow to bring the top card into
contactwiththeadhesive, press slightly
andthen, very slowly drop yourleft
arm. The top card adherestothetip of 10TIED:
the wand and card appears to rise from the
pack. Repeatwithother cards. Here’s another stunt you can have a ton
of funwith. Old, butone of the big
laughs if you learn to sell it. Adhesive is
fixed about half-way down your tie. Card
is selected, returned andbrought to the top.
As you talk, rest your hand against your
AS A METHOD OF CARD CON- tie and patter away to your heart’s con-
TROL: tent. Keep looking at the person who
selected the card. Turn
away towards
Some of you will pass this over. Others someone else and as you do so, drop your
will try it. The latter will be well reward- hand holding the cards. Selected card
edfor the little effort it requires. This will remain onyour tie. Ask someone
was shown to me by Albert Verity some else to name the card that was selected and
years ago. Our friend Malcolm Davidson theydo so at once. Reason is this. As
makes constant use of it. We have seen you ask the second party (who never saw
him fool very experienced card men using the card in the first place anyhow), you
this very ruse. glance down at your tie. He sees card
andnamesit. Look over your shoulder
Attach a tiny piece of the adhesive to and ask if that is correct. Chap will be
a Sixpenceor to athinwasher.Carry surprised and then you turn and let him
this in your pocket and you can perform see his card on your tie. It might not read
miracles with a borrowed pack . . How? . . very funny butjust you try it.

66
 sive right on the topof your napper. Work
the selection, etc., and then place the cards
on your head, face up. Have someone
tap the cards under the pretence that the
selected one will appear elsewhere. Drop
your head so that your pate is towards the
audience. Selected card is right on top.

UTILITY:
The adhesive will safely stick to your
clothing, and will not leave a mark. Used
under the edge of your coat, etc., it can be
used to carry a coin, etc., sponge balls and
the like. Anything (or almost) the magi-
cian uses can be held in place behind any-
thing else making switches, loads, etc.
Very easy and very practical.

e RED TAPE:
A spot of adhesive on the end of the
three-foot length of ribbon. Card selected,
returned and brought to top. Wrap ribbon
round the pack so that the adhesive comes
I I
into contact with the back of selected card.
Hold the free end of the ribbon and allow
the cards to drop to floor. Selected card
will adhere to end of ribbon.

put the thpt or\ 0 SKULLOCATION:

top of your head.I It is the ideal adhesive for the jaws of
L - ”
the little skulls as used in the trick known
as “Skullocation”.

1. ANOTHER: 0 A SPOT
Tiniest piece of adhesive on your fore- secretly placed under the edge of the table
head. Work as above with selection etc., will enabIe you to place coins, cards, etc.,
and then rest the cards against your fore- safely there until they are required.
head. Remove cards and one staysput.
It is the selected card.
Not five lines to describe a trick which Finally I give you the full working
we constantly use. No finger flinging, no detaiIs of a great little stunt that you can ,

great mystery but Terrific entertainment. perform anywhere, let’s call it:

“ BRAIN WAVE OUTDONE ”

READ“ANOTHER”AGAIN: You will require a full pack of fifty-two
If you are bald, try a spot of the adhe- cards. Let’s assume that this packhas a
67
red back design. Youwill also require SO that they run as follows from the face of
one duplicate Ace of Spades but the back the pack:-
of this card should be of a Blue design.
Cut two tiny pieces of the adhesive and fit Ace to King of Spades-Ace to King of
them into the triangle formed by the cross Hearts-Ace to King ofClubs-Ace to
line in the letter “A”. Arrange the cards King of Diamonds. At the face of the
pack place theprepared Ace of Spades
with the Blue back, thus you have two Ace
ofSpadestogether,the front(orface)
card is prepared with adhesive. The pack
is in the case on the table.

T o perform: Remove the cards from

the case and fan them out to show all
different. Ask someone to
name any
card in the pack and when they have done
so, run throughthe cards and bringthe
named card to thefront of the pack in front
of the prepared Ace of Spades. Now turn
the cards round so that the backs face the
audience. Fan out the pack showing that
all the cards are red backed except one.
Ask for the selected card to benamed
again. Remove the blue backed card (ac-
tually two cards held together as one), and
turn it round toshow it is the named card.

For a direct effect of the above nature,

this method is very hard to beat. Try it
now and you will be delighted with the
result.

Scores of uses can be found for this

wonderful adhesive. Here I have given
you food for thought and at least one great
trick,anda couple which are tried and
tested laugh-makers. Have fun and if
you find further uses and feel they would
be of use to othermagicians, drop us aline
and we will be pleased to publish them in
forthcoming issues of “THE GEN”.

TEE LINKINGforRINGin
A magic monthly magazine exclusiv-
ely for members of the International
Brotherhood of Magicians. Publish-
ed continuouslysince 1 923. Averages
140 pages, illustrated, each month.
You do not have to belong to a Ring
to apply membership the 1.B.M
Write for details and application form to :-
INTERNATIONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton, Ohio, U.S.A.
or W. G. STICKLAND, “The Wand”,
Dudsbury Crescent, Ferndown, Dorset.

68
 JOHN BRACOLI
e EFFECT:
Having extracteda sheet of paper from asmall lined writing
pad, such as Pirie’s Crown Bond, the performer tears this
sheet into eight slips of equal size.

The slips are passed outto different ensuring that the tear. is effected slightly
~ m h e r of s the audience. Each of four above the ninth line down. Place the bot-
spectators writessecretly his or her favour- tom half on the top half, turn the paper
itecolour; each of four other spectators so that the visible rough edge is to your
writes the name of a favourite Television left, foldupwardsinto halves, andtear
Star. again. Place thebottom half onthetop
“
y o u may use either pen or pencil”, the half, checking that the visible long rough
performer patters freely, “ and you may edge is to your left, fold upwards andtear
write your thoughts on either side of the Once more-Again Place thebottom half
paper. Just exactlyasyou wish.” on the top half. Finally, turn over all the
slips in your hand so that the blank sides
An additional spectator collects the slips, are uppermost.
mixes them,and places any one writing
side down on theperformer’soutstretched As a result of this procedure avarying
palm. number of lines will theshow on hidden
sides of the different sli S. The exact line
“I receive the impression”, says the per-
former, “that this slip of paper has been in
the recent possession of a lady”. He
K
sequence, progressing om top to bottom,
willbe 5, 4,5, 4,6, 3, 6, 3.
openly turns it over. “Writtenonthe Pass outthetop Slip to a LADY, tkk
reverse side is the name of a colour-yel- second to a GENTLEMAN, the third to a
low”. LADY and the fourth to a GENTLEMAN.
“And yellow, madam”, he continues, Continue without pause but pass out the
havingsuddenly
L‘.
singled outone of the fifth
to aa slip
LADY,to GENTLEMAN.
toa the
seventh The sixth
CENTLE-
audience, 1s yourfavouritecolour! Am
I correct?” His statement is immediatelv MAN, and last to - a.LADY.
_ Remember
verified. these spectators in their respective order.
Each of the first two spectators is re-
The remaining slips are handled in the quested to write down a colour, the next
same manner. In each case the performer two a Television Star, the third two a col-
successfully locates the writer, after havingour, and the last two aTelevision Star.
first divined the sex of that same person.
The working now becomes automatic.
0 METHOD: The sex is divined simply by observing how
Itwill be assumed that Pirie’s Crown many smooth edges are on the slip hand-
led. A single smooth edge denotes a
Bond is to be used in the performance.
Tear off the top sheet cleanly, to main- lady, two smooth edges a gentleman.
tain asmooth edge. Withthe lined side The number of lines showing on theslip
uppermost tear this sheet into two halves, identifies the writer as oneof two persons.

69
If a colour has been written he or she will
be the first of these two spectators to have
been given a slip; if the name of a Tele-
vision Star has been written thereverse will
apply.
A s an example, let us suppose that you
are dealing with a slip of three lines, upon
which youread BLUE. A s this slip has
only one smooth edge you have deduced
the fact that the writer was a lady. The
MINIATURE CO-INCIDENCE
a EFFECT: Cards are next shown and one of these is
selected bytheaudience.When
Six miniaturecards are shown, oneis re- done the small card is removed and shown
moved by the magician and placed either to be a duplicateof the onefreely chosen.
in a hat or spectator’s pocket. Six Jumbo
70
three lines identify her as being the sixth
or eighth spectator; the presence of a col-
our proves her to be the former. It is, of
course, completely immaterial which side
of the slip has been written on.
The reader who cares to experimentwill
find this effect to work equally well with
various other makes of lined pad, the line
sequence varying in accordance with the
size of the sheet.
- - BY RAVELLE & ANDRE€
this is
0 WORKING:
Look at illustration and you will observe
that at theback of each Jumbo Cardin the
left hand corner is a small pocket, each
pocket containsa duplicate miniature of
the card to which it is attached. A small
set ( 6 ) miniature cards are now shown and
one is removed . . BACK to audience and
this is apparently placed into hator pocket,
but is palmed out again, and disposed of.
The six Jumbo Cards are nowdisplay
a fan, making sure all cards are he1 eg :
that pockets on back are in the top left
handcorner(backs of cards facing per-
former). A card is chosen and the rest of
the cards are placed on table face-up.
Now comes the VITAL move, the Jumbo
Card chosen is held up for all to see by
left hand, and then transferred to the right,
and in doing so the card is twisted so that
the pocket of the card is now inthe bottom
right corner, the right thumb goes behind
card and fingersof hand in front, providing
ample cover for sliding small card out of
pocket intopalm. The JumboCard is
then placed down and in picking up the hat
the miniature card is allowed to drop in
and may thenbe removed by a member of
the audience who chose same.
 “I’VE G O T IT TAPED!”
By KEN DE COURCY

MENTION “TAPE-RECORDER” tothe average magician

and you find one of two things. Either he passionately
wants one and can think of endless uses for it, or he already has
one which, after the initial novelty has worn off, is rarely operated.
Notwithstanding recent price reductions, a
tape-recorder is still an expensive toy; and ever required with no extra strain onany-
that’s all it is if you merely rake it out at onebutthe National Grid. I understand
parties to startle guests with the sound of that Sid Lorraine has issued two reels in
their own voices! America, both containing his own origina-
This modern Alladin’s Lamp is useful to tions, and perhaps more could be done in
almost everyone, but for magicians it con- this direction over here.
fers so many benefits ; here are some you The uses mentioned above undoubtedly
may have missed. produce interesting tapes, butnow we
come to the real benefits.
Perhaps the most interesting application
is in taping a “Letter” and sending it to a A long time ago Linguaphone realised
magician in a foreign country. Obviously that the easiest way tolearn languages was
you both have to speak the samelanguage, to listen to them. And the same thing
and I know this largely ties it down to ex- applies when learning patter. Simply
changing tapes with Canada and America, write it out, record it, then play it back
but their views on. the magical scene are over and over again. ‘ T oyour own amaze-
well worth hearing. Theyare equally ment you’ll find you’ve absorbed it without
interested in the various happenings over conscious effort.
here. Quite a number of performers have pro-
A continuation of this theme is the tap- duced acts worked to recorded music. The
ing of interviews with top-notch perform- advantage of using a tape-recorder is that
ers at Conventions and other gatherings. all the music is on one tape ; youdon’t
Last year, when Harry Stanley arranged a require a record-player andan assistant
One-Day Convention in honour of Lewis constantly changing records.
Ganson, I had the pleasure of conducting Take care, however, that you don’t in-
such interviews for onward transmission to fringe any copyright. The record compan-
Eddie Clever, the Editor of the Trick Par- ies nowadays make a point of including
ade in “The Linking Ring”. such a clause on most discs. But, where
patter is concerned, particularly comedy
He has done so much for magic, and patter, a tape-recorder is essential. Only
now, unluckily, is confined to an invalid. by recording it and playing it back can you
chair. I feelsure this kind thought on find out if your timing and pointing is cor-
Harry’s part will have brought Edd’le a rect. Nothing, but nothing, ruins a gag
great deal of pleasure. as quickly as bad delivery.
Whilst a lecture on Tape cannot com- And, talking of delivery, how does your
pare with an actual demonstration, it is still voice sound?Do you needlessonsin
better than nothing. If the lecture is care- elocution? If you do, a recorderis the
fully recorded it can easily be followed, and greatest aid you can have. Even if your
has theadded advantage of repetition when
71
voice is alright, there’s still the problem of description of the table plan and disposition
talking too quickly/slowly/low/high etc., of all the apparatus before the presentation.
faults you can only eradicate if you know This tip alone can be worth the price of
they exist. the instrument to a practising performer
Studying the techniques of other magi- who knows how easy it is for an act to
cians is always a helpful pastime. With a slip into disuse.
tape recorder youcan record theiracts A tape-recorder can itself be used for
whenever they appear on television. Pro- tricks. Two spring to mind immediately.
viding these recordings are purely for your You remember wherethegramophone
own use (and you’ve paid for
your record instructs the performer in doing a
licence!), I doubt if there’d be any objec- card trick? It was a costly item some
tion.Under no circumstances, however, years ago. If you have a recorder, you
record them with intent to copy. You are can now rig it up yourself for the cost of
interested in the reasons they perform as a three-inch reel of tape. Then, in “Abra”,
theydo.Experience has taughtthema Robert Harbin devoted an article to an in-
formula for success; it’s for thatyou’re genious prediction using a small length of
searching. Record theact,thenanalyse magnetic tape, and A1 Koran worked out a
it. most effective method to predict the Derby
Even more advantage can be gained by Winners; but that’s his own!
taping your own act next time you play
beforethe public. Placethe microphone Finally, here is a very obvious applica-
so that it picks up your voice, and also the tion which, to my knowledge, has never
laughter and applause from the audience. been used in magic, Comedy sound effects.
If there are any dead-spots oranti-climaxes’ For example, let us assume the performer
they’ll stick out like a sore thumb-tip. is talking about cowboys playing cards in
a saloon (in other words, a gambling rou-
Furthermore, you’ll be able to tell exact- tine).
lywhenyou“got”the audience., If it
takes longer than it should, change your “Suddenly”, he says, “They heard the
opening trick. If yournext-to-last effect Sheriff’s horse galloping up”.The audi-
gains more applause than the last, change ence hear a car arriving at high speed, fol-
them around to finish on a high note. lowed by a screech of brakes.

The semi-professional magician is at a O r , as you pour out aglass of water, the

disadvantage, he plays so often before the
same audiences means
it a continual change
of material. If he will go to the trouble of
taping the presentation of all his tricks he
then has a permanent and “live” record
which will play back to him at the turn of
aswitch. If he dropsa trick forayear,
this is the easy way back to it.
If you work to fixed acts, this facet of a
tape-recorder shinesevenbrighter. The
complete act can be recorded, including a
audience hear the sound of a waterfall, or,
if you’re that wayinclined, a cistern!
But I’m quite certain I can leave the sub-
ject with you.
In answer to your unspoken question ;
No! I have no shares in a tape-recorder
Company. If one should read this, 1’11
accept a Transistormodel and make every-
one’s life miserable at the next convention!
(I’ll go “halves” . . . Harry.)

0 Subscribe to HUGARD’S ”MAGIC MONTHLY

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J EA N HU GA R D . 2634, East 19th Street. Brooklyn 35. New York, United States of America

72
can Gamble” was received, and although I
was particularly impressed with its first-
class plot, I felt that there was a certain
weakness in the method because the same
sleight is repeated. I had often meant to
mention this fact to Frederica, but before
I could do so, my intended argument was
defeated because at the nextof our all too
rare meetings, he offered to showme a
trick and completely fooled me before I
realised it was none other than the routine
in question.
The repeated sleight is the Mexican
Turnover and should any readers feel as I
did before seeing Frederica perform it, then
a little experimentation with, say, the
Curry Turnover should enable variation of
sleights to be introduced. However, what-
ever you do-don’t be put off-it’s a first-
class effect.
Effect. A pack of cards is shuffled, then
placed on the table for a spectator to cut
into two heaps, one of which he hands to
the performer. The spectator takes the
other half and both halves are now
shuffled.. Now the performer takes a card
from his half and places it face down on
the table and the spectator takes any card
from his shuffled heap and places it face
down beside the performer’s card. Both
cards are turned over and are seen to be
the two Black Aces. Again each halfis
shuffled, then the spectator takes a card
from his heap and places it face down on
the table-the performer takes a card from
his heap andplaces it beside the spectator’s
card. These two cards areturned over
andare seen to be the two Red Aces.
Two more cards are placed on the table,
these are turned over by the spectator and
they are both Jokers!
Preparation. This consists of a simple
set-up of the top six cards-the two black
Aces on top then the two red Aces and
finally the fifth and sixth cards are Jokers
(or Kings).
Method and Patter. State that you pro-
pose to demonstrate a gambling game that
is played in Mexico.Shuffle the pack,
taking care not to disturb the top stack of
six cards.Place the pack face downon
the table and ask a spectator to cut it into
two heaps, then ask him to pick up any
heap. If he lifts the top portion (the one
with the stack), say: “Hand it to me and
you take the other half”. If he lifts the
other heap, you simply pick up the remain-
ing heap from the table and say: “1’11 use
this one”. Tell the spectator to shuffle
his heap, while you shuffle yours (do not
disturb the sixcards on the top of your
73
heap).Takethetop card of your heap as before and place it face down on the
and place it face down to the right of the table (as you are talking, take off the top
table. The spectator is asked to remove card from your heap and lay it face down
any card from his heap and without looking on the table-it’s a Red Ace). The two
at it, place it face down about eight inches Black Aces are still face up on the table.
or so to the left of your card. Say: “This Say: “Let’s see what you have this time”.
is really a simple game in which the object Take the topcard from yourheap and turn
is for one card to beat the other, thehighest over the spectator’s card, executing the
card wins, of course. However, when Mexican Turnover, and it is seen to be a
played in Mexico,the Banker is not allowed Red Ace. Flip over your own card and it
to touch the cards with his hands and uses is also seen to be a Red Ace.
a little stick to turn them-I will use this
card in place of a stick”. As you say this, Returnthe card in your hand to the
take the top card of your heap ( a black centre of the heap, shuffle the cards in
Ace) and keeping it face down, flip over the your hand casually and bring one Joker to
card on the right of the table-it is a black the bottom. Ask the spectator to line up
Ace of course. Say: “I’m afraid you the Aces at the top edge of the table. He
have not much chance of winning now”. will probably lay down his heap of cards to
Move the hand holding the card over to do so; if not, just ask him casually to lay
the card at the left of the table and execute it down. As he starts to sortthe Aces,
the Mexican Turnover; this reveals that separate the bottom Joker from the rest of
card as a Black Ace. Returnthe card the heap and keep it separated by holding
which is in the hand to the top of the pile. the heap with the hand arched across the
(By the way, thecards are held in the left cards, fingers over the front short edge of
hand all through the routine and thesingle the cards and the thumbover the rear short
card in the right.) edge of the cards. The thumb holds the
Joker a little way off the remainder of the
Remark: “That is a rare coincidence ; heap (Figure l ) . Lean forward and stretch
as the cards are equal, the game is void out your other hand to help the spectator
so we must try again”. Spectator and per- toadjustthe Aces. At the same time,
former shuffle their cards. (Remember, pass the hand with the cards over the spec-
keep your stack of four cards undisturbed tator’s heap, letting the bottom Joker drop
at the top). On top of your stack will be on to his heap (you have ample cover and
the spectator’s card which he originally opportunity to do this without fear of being
placed on the table. Slide this card off as spotted).
you shuffle and lose it in the heap. Tell
the spectator to take any card from his pile Take the top card of your heap and place
it face down on the table, Ask the spec-
tator to take his top card and lay it face
down beside yours. Say:“It would be
morethan chance if the cards were the
same-it would be magic”. Ask the spec-
tatortoturn over your card. He will
reach forward to doso but stop him before
he touches the card and say: “In this
game, the Banker is not allowed to touch
the cards with his hands”. Hand him a
card to use to flip over your card-it is a
Joker. Build up the suspense here for all
your worth then tell him to flip over his
card-it is also a Joker.
 C A R D THROUGH
T H E FIRST DESCRIPTION, I read of
this classic was in LangNeil’s
“ModernConjuror”. The version I am
about to describe has the same effect, the
only differences being as follows :-
l-The time of performance is much
shorter.
2-The cardispalmed atthe exact The right hand moves over to the left
moment the hand goes under the and
handkerchief. right
known as Kelly’s Bottom Replacement is
a PERFORMANCE:
After the spectator has shown the chos-
en card to the rest of the audience (except
the performer), it is returned to the pack
and secretly brought to the bottom. The
pack is then false shuffled and false cut.
HANDKERCHIEF
MODERN VERSION
A handkerchief or silk (preferablya
heavy silk handkerchief), is taken in the
left hand in the grip as seen in Figure 1 .
If you study the photograph, you will see
that the grip is such that the thumb and
first finger of the left hand are free to grip
the pack, which is held in the right hand as
in Figure 1.
just before the pack is taken in the
hand,the first part of themove
carried out (Figure 2 shows a view from
underneath). As soon as
the pack is
gripped by the left hand, the right hand
(which retains hold of the bottom or
chosen card), moves on in the same direc-
tion, while the left hand moves in the oppo- ’
site direction and drapes the handkerchief
over the right hand. This hand must
move in such a direction that assoon as the
hand has turned over under the handker-
75
chief, and so brought the card face up, it is
directly under the middle of the handker-
chief. The left hand now places the pack
face up on the handkerchief, right on top
of the palmed card. All the foregoing
takes only a few seconds. The silk is now
folded over in the usual way and the card
is shaken out of the silk in the same way
as in the classical version.
I usually end with a sort of flourish, for
after having shown the card, I throw the
handkerchief and pack in the air for a short
distance. In theair,the silk and pack
somersault andare caught in the same
hand. Because of its weight, the pack
comes down first and is caught in the hand.
The folds of the silk falling open (after a
little shake) for the pack to become visible.

- JESSE DEMALINE, M.M.L.

0 EFFECT: envelope are used. ( 3 ) there are only

two cards-one blue and one red. (4) no
Performer says he has placed a red back- forcing. (5) and can be done at any re-
ed card in an envelope which he leaves in peat show as the freechoice made by aud-
full view. The card can be seen through ienceis the actual card used. Different
the window-back out. He then asks each time.
anyone to name any card in the pack. A
blue pack is removed from the pocket and
the chosen card removed. The card in the 0 EXPLANATION:
envelope is removed and shewn to be a
duplicate of the FREELY chosen one. I suppose youwill have looked at the
drawings and have solved half the problem.
Points to note: ( l ) there is no sleight This card in the envelope is only a part of
or move. (2) nothingbut the cards and a card. First, get an end opening (white)
envelope and cut a window in front as large
as possible, but whichwillconceal the
“works” at the bottom. If you wish to
strengthen the envelope a cellophane win-
dow can be stuck in. Cut a piece of white
cambric a $ of an inch narrower than the
envelope and stick or sew a strip of lead at
one end ( 1 a ) . This is stuck by other end
to bottom (front) of the envelope. From
a red playing card cut a piece just larger
than the window andstick this to the back
side of the envelope, redback showing
(Figure 1 ) .

Next, you need two packs of cards-one

red and one blue. Rough with roughing
solution all the backs of red cards and the
fronts of blue cards, polishing the other
sidesin normal way. Pair eachredcard
on face of blue duplicate. Now make up
two normal sized packs by having odd red

(Continued on page 78)

76
 BOSTON TWO-STEP
BY ALEX ELMSLEY

EFFECT: A brass box is shown, together with six pen-

nies and a sixpenny bit. The pennies are put in the box, the
sixpence is vanished in a handkerchief and appears in the box
on top of the pennies. Then both the pennies and the six-
pence-vanish from the box and re-appear in the handkerchief.

METHOD: The box used

is the “For the first part of this trick I shall use
George Boston combination box, which the sixpence, and a handkerchief.” As
consists of a “German” or “Foxy” coin -you say this, lift the box with the right
box with an Okito box lid. A penny is hand, leaving the pennies in the leftfinger-
waxed into therecessed bottom, and a six- palm. The left hand goes to your pocket
pence is waxedontothepenny. Now, for the handkerchief, while the right hand
when the box is upside down, it appears to puts the box on the table. As far as you
be full of pennies, with a sixpencce resting are concerned, the trick is nearly over now,
on top. although to theaudience it has hardly start-
ed.
Only two moves are made with the box,
and both are standard Okito box moves.
Start with thebox prepared as described. Showthe handkerchief, open it,and
In the box are six pennies, on top of the spread it 6ver your palm-up left hand. The
pennies isthe sixpence, andthe box is pennies are held by the two middle fingers,
closed bythe lid. A handkerchikfis in but if the thumb, first and little fingers are
your left coat or trouser pocket. spread widely, it will appear through the
handkerchief that your hand is open.
Step 1. Show the box in your left hand. Pick up the sixpence in your right hand,
With the right hand take off the lid and put and appear. to put it on the handkerchief
it onthe table. Next takethe sixpence, and close your left hand round it, through
display it,and putit also on the table. the handkerchief. Use any vanish which
Then dump the pennies out of the box leaves the sixpence finger-palmed in the
into the right hand, taking care not to flash right hand-the“‘pinch” vanish is suitable.
the gimmicked bottom of the box.
Countthe pennies back intothe box,
which is on the tips of the fingers of the Blow on thehandkerchief,and open your
left hand. Withthe right hand, pick up left hand (returning to the position with
the lid, and place it on thebox, turning the first and fourthfingers extended), to show
box over as you do so under the cover of that the sixpence has vanished. With the
the right hand, by bending the left fingers right hand lift off the lid of the coin box to
inwards. As a result the lidgoes on the show the sixpence apparently resting on
bottom of the box. top of the pennies.

77
 Step 2. “The second part of the trick is
more difficult. I shall extract the pennies
from the box, and pass them into thehand-
kerchief.” Althoughnot strictly neces-
sary, it is a good thing at this point to take
the handkerchief by a corner with the right
hand and shake it out. The left hand, of
course, returns to the ordinary finger palm
position. Then the handkerchief is once
more spreadover the lefthand.
With the right hand, replace the lid on
the coin box, then make amotion of remov-
ing something from the box and throwing it
at the handkerchief. Grasp the finger
palmed pennies through the handkerchief
between right fingers and thumb, turn the
right hand palm up, and with the left hand
throw the handkerchief back to reveal the
pennies. The action is the sameas Jack
Chanin’s coin production from a handker-
chief (the T.V. Surprise).The pennies
should be fanned as they are brought into
view.
Drop the pennies into the left hand,and
put them onthe table. Say, “While I’m
aboutit, 1’11 extract the sixpence too”.
Again make a motion of removing some-
thing from the box and throwing it at the
handkerchief, this time with the left hand.
Then grasp the finger-palmed sixpence
through the handkerchief, and bring it into
view, again using the Chanin moves des-
cribed above. Take the sixpence from the
handkerchief with the right hand, and put
it on the table. The handkerchiefis left
spread over the left hand.
Finally, pick up the box, hold it about
four inches above the left palm, and let the
box drop out of the lid in such a way as to
make a half turn before landing mouth up
on the handkerchief. Showthe box
empty, put the pennies and sixpence back
into it, close it with the lid, and you are
ready for the next performance.
0 Note - The Box as described is sold
by us . . beautifully made in metal . . price
10/6d.

A PREDICTION MIRACLE - continued from page 76

-even black cards in one pack, with the Note: As a patter theme, I say, a friend
other pack of even red-odd black cards. sentme this envelope containing a red
backed card which I must not open or the
0 SET-UP: prediction will not work. Here I “read”
Packeted cards are in remembered order a notesaying - “Dear - -, I am sending
in pockets. Envelope is handy. youa card in an envelope which I feel
0 WORKING : sure will answer a question regarding a
Show the envelope with “card” in and freely chosen card, etc., etc. .
9 ,

leave it, windowside up, on thetable. Ask By using this theme every move is quite
for thename of any card. Removethe reasonable and you can look as surprised.
requisite pack and remove the chosen pair Here is another variation. Using the
as one card. Hold the card(s) on leftpalm. same Rough and Smoothpacks, a semi-im-
Pick up envelope in right hand, nipping promptu method can be worked as follows.
blind at bottom, show red card still there. Place a red backed cardwith a good blob
Keeping left hand palm up, fingers bent up of wax or skin cream on the face, back-
at right angles, right hand squeezes sides out in a clip or stand. Workas above,
of envelope (window to audience), with but when you have removed the card (S)
flap just behind left fingers. The blind put them behind the red card-recap-and
falling over the visible card across window, remove the lot, squeezing them when the
is a perfect illusion of card falling out and two visiblecards are alike. Don’t show
I‘
envelope is nowempty”. A s you lower the backs as both will be red. If all the
your left hand, fan the twocards and show pack is blue (blue pairs), then backs can
you have predicted the freely chosen one. be shown too.

78
the selected card!
0 REQUIREMENTS: Any pack of Unfold your arms, leaving the card pro-
cards. jecting from behind the left arm-pit. Show
0 METHOD: Have a card selected, the pack . . smack it against your chest,
noted, thenreturned to the pack. Bring then take it into your left hand. Show
it to the top byyour favourite method, then your right hand to be empty, then reach
falseshuffle andcut if you wish.Now behind you and take the card from the
secretly palm off the card into your right arm-pit. Bring it to the front and have it
hand, fold your arms . . the right hand go- verified by the person who selected it.
ing into your left arm-pit. Pretend to be
deep in thought, thensay, “No! I don’t There is not much to it, but somehow I
think I’ve got it”. have always liked it.

AN
IN-BETWEEN CARD PREDICTION
THIS PREDICTION MIGHT be inter-
esting even if it’s just to see how
often you will get away with it. It is
based on oneof the oldest of card tricks.
Predict the “King of Clubs’’ on a slip of
paper andput it in your pocket. Now
place the Eight of Diamonds and theSeven
of Hearts face up on the table, then put
the King of Clubs face down between the
two face up cards. Finally place these
three cards into the lower half of the pack
just below the centre. Havethe Seven
of Diamonds and the Eight of Hearts on
the top of the pack.
To Work: Removethe two top cards
and lay them face uponthe table. Fan
out the top half of the pack and have some-
- TOM SELLERS
one touch a card. Remove it . . . still
keeping it face down and then put it be-
tween the two face up cards on the table.
Place all three on top of the pack and cut
a third of the pack to the bottom. Give
someone the slip of paper to hold.
Fan the pack till you come to the first
set of three cards, remove them, then have
your prediction read out. Turnup the
face down card and show it to be the King
of Clubs.Now turnthe pack face up,
remove the two top face up cards, and tell
someone to turn them face down, saying
“You will make two cards in the pack turn
face down in sympathy with them”. Fan
the pack and remove the first face down
card, close up the pack then repeat, remov-
ing the second card.
79
 M ~ ~the ~ c ~ o
M I R A C L EW A L L E T
B U Y YOURSELF A wallet of the type shown in the illu-
stration. You can get a cheap one one to play around
with at first . . then if you like the effect . . get yourself one of
better aualitv. J -

On the back of one side of t i e wallet

cuta slit large enoughtoadmitacard.
nearer to the edge, make a half-inch hole and stick over it . . from the inside . . a
piece of Sellotape. The Sellotape must
Fr o h t Back be changed frequently. Inside the wallet
. . in the pocket opposite thefakeside,
place a Rubber Band. The wallet is now
placed in theright hand jacket or hip pock-
et, with fakedside to body. When taken
out, it is placed on palm of left hand so that
wallet opens out to theright . . actually the
wallet is placed on the cards in the effect
about to be described.
Vlew from below
0 WorkingandEffect:

A card is freely chosen from aborrowed

pack and signed by a spectator. It is re-
turned to the top of the pack. Holding pack
in left hand, performer searches in his poc-
ket for a rubber band, then remembering
that he has one in his wallet, he removes
Two v~ewsof ~ ~ ~ d h d r a vof~ ad
~ql wallet from his pocket laying it, faked side
down over cards in left hand, at the same
time opening it out for spectator to take
out rubber band from the pocket nearest
him.Whilespectator is taking outrub-
ber band, performer presses withthumb
over the position of the gimmicked hole,
the action of which causes the top (signed
card) to adhere to the wallet.

The top card in this position mustbe

completely covered by wallet . . but care
must be taken at this stage, not topush this
top card beyond the slit. Place wallet
down on the table.

80
 The cards are now handed to spectator
with the requesttothoroughly shuffle
them and finally encompass them with the
rubber band.
Recapitulatewhat has happened,then
pick up the wallet with left hand . . push
card right through the slot as far asit goes
. . and open it. Spectator is then invited
to remove the card from wallet and verify.
0 Sleight-of-handRoutine :
Selected card is passed to the top and
false shuffled to retain at top. (Double-
lift can be performed now, if desired.)
Holding the cards in left hand, wallet is re-
moved, rubber band taken out, and wallet
with card adhering is placed on the table.
Cards are now shuffled by spectator, en-
compassed with rubber band, and at the re-
quest of performer to give a number, spec-
tator counts down to that number,pulling
the cards out from under the rubber band.
His “numbered” card is then placed face
downwards the on table. Performer
picks up wallet with card underneath,
opens it, then picks up card from the table
S,
and places it right down in slit compart-
ment”. As the wallet is closed the signed
card is pushed through the slit as far as it
will go.
Performerthenremarks to spectator
“that it would be a miracle if his ‘counted-
off card’ was really his selected and marked
card”.Wallet is then opened and spec-
tator is requested toremove the card which
is found to be his signed card!

N.Y.C. GEN than just good tricks . . and for those who
That grand New York City “Gent.” Bill take me seriously, I have some good news.
Simon, togetherwithour good friend Next mnnth, we publish the first of a series
Faucett Ross, is compiling a really bumper of articles on“theotherthings”.The
issue. “Names” already in the bag include author, Mr. James Dodding is a profession-
.. ..
Bill Simon himself Slydini Louis Tan- al Producer, Actor and Adjudicator. Lec-
.. ..
nen Martin Cardner Robert Orben .. turer in “Speech and Drama” at the famous
Ken Krenzell and other famous New York Rose Bruford Training College . . guest lec-
magicians. It’s amouth-wateringevent turer in “Movement” at the Royal College
we’ll look forward to. of Music Opera School. He is, atthe
moment, involved in the preparation of a
VERNON ONMALJNI production at The Saddlers Wells Theatre
Faucett Rosssent me the tape recordings . . so he should know what he’s talking
he made of Dai Vernon recalling the most about !
fabulous tricks of the great Max Malini.
Dai was an intimate friendand here reveals The first article deals withthe use of
many never-before-published-inner-secrets the VOICE . . the common faults and how
to which he has added the masterly “Ver- you can start to put them right.
non Touch”. Lewis Canson is doing his
usual magnificent job of writing and photo- This is really important stuff, believe
graphingandtheresultant book will be me !
anothergreat and worth-while Unique
publication. KID STUFF
Dear old Coodliffe is upset with me be-
THE OTHER THINGS cause I dared “criticise” him in a recent
I’m always nagging at you to realise that “GEN”. For years he has been “dishing
a good magical performance needs more it out to all and sundry” and it must come

81
a bit hard on him to have someone “give
it back” for a change! We had a faintly
amusing exchange of letters in his little
magical newspaper, “Abra” . . I had hoped
it would have lead to some useful “open
discussion” on some worth-while magical
topics, but instead he “promoted” me to
his list of “characters” to whom he admin-
‘ I
isters a frequent dose of his famous sneer-
smear medicine” . . “Oh, mum, it does
taste ’orrid!”.
SUMMER TIME
Is the title of my favourite songfrom the
Cershwin opera “Porgy and Bess” . . it is
also my favourite time, for at this season
we set a steadv flow of overseas visitors to
the k u d i o . gives mequitea kick to
be able to talk personally to the customers
we otherwise only correspond with over
great distances. Only yesterday, we had
in three different chaps from South Africa,
one each from Finland, Germany, America
and Australia. Had a heck of a time with
the last man, trying to explain away our
defeatbythe Aussies in the last test-
match! Apart from magic, I usually help
our visitors with advice as where best to
eat, shop and see the most unusual sights
and shows . . it’s all part of the Unique
Service !
PUBLIC LIBRARY
Recently we were asked by a Public
Library for one of our books. The reply . .
‘.
our usual one tosuch requests. . not avail-
able for general library use”. The sequel
was an indignant letter from a magician
accusing me of “depriving him of a chance
to get the book from his local library”. I’m
probably old-fashioned about these things,
but it did annoy me intensely to think that
this fellow, as long ashe could get a look at
this book, didn’t give a tinker’s cuss that
it would afterwards be left on the shelf for
any Tom, Dick or Harry to pick up. I’d
sooner have loaned himthething, free,
than this should happen. Maybe I’m
wrong about this . . what do you think?
YOUR LIBRARY
For some years now, I’ve run a Credit
Schemeto enable magicians to build up
82
a decent library without having to pay out
the cash in one lump . . and it’s gone very
well. Only this morning I had aletter
from acustomer who writes . . “Here is the
first instalment for the Tarbell Course pur-
chased from you last month. I must say
it is the best money’s worth I have ever
spent in magic as there is so much in it for
all types of acts. Harry, you are doing
a great service to those of us who have only
a limited amount to spend on our beloved
art”.
Our Credit Scheme is Interest Free . . .
just the regular listprices with nothing
extra to pay . . it’s worth enquiring about.
MEMORIES
From your corespondence, it seems that
you enjoy my little reminiscences . . so
here goes with another . . a good “lesson”
taught me by Giovanni.
We had worked together on the same
bill several times, and had become good
friends. This little incident took place at
the Coventry Hippodrome. Chatting to-
gether at the “Band Call” on the Monday
morning, a stage-hand came up, arm out-
stretched. . “Mr. Giovanni”, hesaid, “steal
this watch!”. “Excuse me “G” replied,
but I think it’s my turn for rehearsal” and
off he went downstage tothe Musical
Director. The matter was apparently for-
gotten . . But . . a few days later, I was
back-stage with the boys when someone
asked me to do a trick. Just going to
oblige, I noticed “G” coming towards US.
“If you want to see some real magic get
Mr. G toshow you something” I said.
“Oh, no, my boys”, he replied . . you are
‘6
very good, go ahead”. Thus encouraged,
I went into a card trick, at the finish of
which I produced the selected card with a
flourish saying . . “and that’s your card”
. . whereupon a hand holding a watch,
came from the back with a voice saying . .
“and that’s your watch!” Yes, it was the
watch he had been’ “challenged” with a
few days before! You could have knock-
ed the chap down with a feather . . he was
flabbergasted and for the rest of the week
 he was telling all and sundry what a mar- possible. Just look through this issue and
vellous pickpocket Ciovanni really was. l realise what fantastically Good Value you
bet forthe rest of his life he was a walking- are getting for the very modest price you
talking advertisement for “C”. pay. If I am going to keep the price peg-
ged at its present level and keep up the
I later discussed this matter with “C” high standard, we must have morereaders.
who said that on the Monday he was at
Many chaps seem to take things for grant-
a disadvantage and althoughhe could have
ed . . if YOU are not one of these . . help
“fooled around” with the fellow and got
the watchaway from him . . he preferredto
ME to satisfy YOU by getting us at least
“bide his time” and wait for the opportun-
ONE NEW READER.
itytodoa “clean job”!Persuadingme
todo the card trick gave him the mis- ‘L’ A CHARMING LETTER
direction” that put his unsuspecting victim Nice sequel to our Paris Film Show is a
“off balance”. To my mind this type of letter received from Dr. Dhotel . . “Thank
you for the wonderful evening you helped
quick-thinking shows the touch of a real
‘‘
master.He said, Harry,my boy, re- us to spend.Apartfromthe fact that
your films were perfectly taken, they gave
member this, if someone puts you “on the
atrulyextraordinarydemonstration of
spot” with a challenge to do a particular
trick, he has heard you do particularly well technique and presentation. So I give you
. . make sure the conditions are right for my thanks in which my colleagues join un-
‘‘ animously together with my sincere con-
its complete success. If you are crowd-
gratulations”.
ed” . . sitting wrong . . hemmed in or un-
comfortable in anyway . . don’t do it! Thank you Doctor . . Lewis, Ken, l
Don’t refuse outright . . smile and say,“Ah and all our film helpers are delighted to
yes wonderful thing . . unfortunately it can know that ourefforts pleased you and your
only be done when the moon is in the right members, it perhaps did a little something
quarter . . or there is an “R” in the month towards cementing the magical-friendship
. . or some pleasant little remark like that between our two countries.
. . then do something which is not affected
by adverse conditions. Don’t be so an- SINGING STAR!
xious to perform tricks that you get pan- “Crazy” Tommy Cooper becomes the
icked into doing them in a bad situation first magician to make a“Pop” Record.
. . remember, there’s always another time”. Titled “Don’t Jump of the Roof Dad” and
Splendid advice I’ve always remembered. on the “flip” side he “sings” “How Comes
There’s No Dog Day”. You can buy it at
WHAT ABOUT IT? your local music store -it’s great fun!
Continued rising costs are making things
more andmore diff cult for publishers these THAT’S ALL FOR NOW
days. You know (or ought to)that 1
make every effort and spare no expense
. . . until next month . . . all the best,
so that we give our readers the very best HARRY.

a A 100% MAGICAL SERVICE FOR YOU !

HAMY STANLEY 14, FRITH STREET, LONDON,W.l.
.- . . Leicester Square or Tottenham Court Road, Tube Station - -
3 minutes from Piccadilly
Telephone - GERrard 5409
Callers please Note - Hours of Business - Weekdays 9 a.m. to 6 p.m.
-
Saturday 9 a.m. to 4 p.m.
83
 ..“BRILLIANT’’ ..“TERRIFIC” . . are just
I “EXCELLENT” a few of the
words our highly satisfied customers from all over the world, are using to des-
cribe m y

NEWSUPER
DIMINISHING
l
CARDS
Everybody is DELIGHTED with the way onecan take a
few cards from the pack COUNT THEM SINGLY
FROM HAND TO HAND.. then.. WITHOUT HAV-
ING TO PALM ANYTHING AWAY. you give a little
squeeze” and they Immediately DIMINISH to HALF SIZE . .
1’
..
YOUcan count these half-size cards singly from hand to hand .. . . Another
. ..
squeeze and they becomeQuarter Size . then One Eighth then One Sixteenth
and then finally DISAPPEAR COMPLETELY!
Easy to do . . Each of the Diminished Sets of Cards Fans Beautifully. Each
and every Card is Properly Printed on real Playing Card Stock with Faces and
Backs Matching Perfectly. A proper job,printed by the country’s leading Play-
ing Card Manufacturer . . not a “hotch-potch” job by a “local printer”.
Fully illustrated instructions and routine by HARRY STANLEY.
0 AS AN EXTRA BONUS . . we give you A Completely New Comedy Idea
which enables you to start with Jumbo Cards. .which you Diminish first. . then
carry on with the routine as described above . . . finally finishing with Jumbo
..
Cards. IT’S A WOW !
Complete and Ready to Work Right Away.
Price 22. U.S.A. $8.00.

” FRENCH ” DIMINISHING CARDS

While in Paris recentIy, the famous French Dealer, . . Mayette . . gave me
permission to put outthis very fine method of doing the classic trick.
It is extremely simple to work . . giving three excellent Diminishes.
A Splendid Buy for the reasonable cost. Cards match our regulars.
Price 25/- U.S.A. $5.00.

“ AL BAKER’S ” DIMINISHING CARDS

By kind permission of Lou Tannen, the well-known American dealer, I can
now offer this splendid method of doing the great trick, as used by many famous
magicians . . you may have seen John Peake recently do it, with great success,
on the Harbin T.V. Show. Clean and easy working . . each set of diminished
cards fan beautifully without skill. American clients, please get this from
Louis Tannen. Price - S2.

84
W THOUSANDS O F MAGICIANS
seen KENBROOKEperformthis,
Business.
.. .
HERE . on theCONTINENTand in AMERICA who have
will tell you that it is one of the FUNNIEST-FOOLERS in the

C H A S ET H EA C E
THREE GIANT-SIZE CARDS . . each TWELVE INCHES by NINE INCHES . .
made of HEAVYcard . . with Super PlasticFinishthat’sWashableandDurable
. . plus . . a Laugh-packed Routine which will Fool them.
The three cards . . the ACE . . TWO and THREE are shown quite clearly . . but
V no matter how closely t h e audience follow your slow and deliberate movements . .
they cannot find the Ace. This is repeated . . but still the Ace dodges them! Finally
.
a member of the audienceholds the elusiveAce himself . . but . without any exchange
whatever . . he finds that it has CHANGED to a DIFFERENT CARD !

i
(V
I 6
J
I No Double or Pocket Cards are used . . only THREE CARDS USED. This Fun-
getting-Fooler is EASY TO DO . . A winner if ever there was one!

Price 12/6 postage 1 / 6 U.S.A. $2.50.

l

MANY YEARS AGOwe originally introduced t h i s famous trick t o this country . . i t was an imme-
diate hit. We took it to America and “knocked them for six” with it DavidNixon . . and Michael
Bailey are just two of the famous who have featured it on Television . . it’s a World-Wide-Winner.
A GREAT SUCCESS THE WORLD OVER .
. this is the TOPS IN ENTERTAINMENT ! A giant
card has first 6 spots, then 3, then 4, then 1. Unfortunately ( P ) the magician makes a mistake, and
audience see how the changing effect is brought about. Performer further assists them by explaining
exactly HOW the trick is done. . . but their eyes Pop, when suddenly, the card has 6 Spots, 4 spots,
3 spots, 1 spot . . and finally E K H T SPOTS ! It’s a real EYE-POPPER that is CERTAIN to get the
LAUGHS ! No flaps. .
. EASY TO DO . . you can performthisRIGHT AWAY.
11 Price 15/- postage 1 /- U.S.A. $3.00.

“ JUMBO JACKPOT ”

HERE IS A REAL GEM. CLEAN and DIRECT IN

EFFECTandyetVERY,VERYSIMPLE TO DO.
NOT a singlesleightanywhere.Thecards do all the
work . . YET . . it is so CONVINClNGit will Fool
the most experienced magicians.
FIVE cards are fanned out . . they are all Different,
andastheyarespread, reveal a perfect “Running
Flush”. Highest card of the run is turned face down
on tahle, and spectator is invited to name it. Ttle re-
maining four cardsare also turned face down and
spectator is asked t o indicate position of the lowest
value card , . h u t , when the four cards are turned face-up, and dealt on to the tahle . . it is seen that
the four cards are now ALL T H E SAME VALUE !
If you’ve missed everything we have e\’er offered . . DON’T MISS THIS ONE.
.
Complete with full instructions and the five cards . . YES . ONLY five cards are used !
Price - 7/6
I
85
/I1 ENCYCLOPEDIA of CARD ‘TRICKS (JEAN HUGARD)
THE BIG BOOK ON THE NON-SLEIGHT OF HAND CARD TRICKS.
Twenty Chapters devoted to card tricks dependent upon subtleties, ingenious
dodges, novel ideas and natural misdirection, rather than sleight of hand.
Chapters on Impromptu tricks, Arranged Decks, Spelling routines, You Do as
I Do, Key Cards, Slick Cards, and many others. A wonderful reference book.
Includes the complete Nikola Card System.
445 Pages. Several hundred tricks. Illustrated, cloth boundPrice-30/-
“ W I N D O W S.TOPPERS”
U.F. Grant. A printed book containing a collection of magical window dis-
plays which you can use to advertise your show. Many are non-mechanical
so costs are low. Others use clever mechanical devices to create various amaz-
ing displays. These ideas can be put out as a side-line, rented to shops etc., to
advertise products. Great possibilities with this. Price -
14/-
“ILLUSION SECRETS”
U. F. Grant. New Enlarged Edition. 24 great illusions Fully Explained.
Big Value for only - 21 /-.
E.S.P. H A N D B O O K A N D WORKSHOP K I T
Printed book with good tricks. Complete with E.S.P. Cards . . A very useful
outfit for the mentalist. Price - 21/-
“MINIATURE HAUNTED HOUSE”
The Great Leon. A complete act described in most detailed way . . . Fully
illustrated “build-it-yourself’’ plan . . several brilliant effects, patter and presen-
tation, plus many action photographs. Act can run 30 minutes (if desired).
No assistants required. Sets up in a few minutes . . perform anywhere . . work
on table . . packs flat. Spookyand unbelievable. Original price of this act
wasnearly $1 00 ($298.00.). Complete in a large 34 page printed book.
Price - 351-
0 POCKET TRICKS -
“ N O T ET OM A T C H E S “
At your finger-tips, you hold a treasury note. You say . . “I used to light
cigarettes with these . . now I use Matches”. Suddenly you’re holding a packet
of matches. Showing them back and front, youopen the packet, take out match
and strike it!!! Easy to Do ..
no sleights ..
a real Eye-Popper for the Pocket.
Price - 5/-

S PONE
-
OSOFTTTHEI C KS R*M*Jmison
GREATEST OF ALL POCKET TRICKS -
Two smallplasticsticks . . one White,oneBlue,from which
spots appear - Vanish and Jump from one to the other.
EASY TO DO .
I t will soon ‘bedome ONE OF YOUR FAVOURITES
Complete with FULL instructions and TWO routines, one by the
inventor and the other by Ken Brooke.

Price S/- U.S.A. $1.OO.

86
 0 As used by the World famous Swedish
Manipulator - TORNEDO.
The Perfect climax for your cigarette
routine !

" MULTIPLYING PIPES "

ARNOLD BELAIS

Performer removes a pipe from his

pocket and proceeds to light it. He then
pays no attention to it until it instantly
Multiplies to TWO PIPES betweenhis
fingers. He then puffs on both pipes.
Theyreallysmoke! He looks awayand
Immediately a THIRD takes its place be-
tween his fingers. Again he puffs on all
three pipes. Finally a FOURTH pipe
appears. All four pipes are puffed prov-
ing them real and lit.
I An outstandingeffectthatundoubtedlycausesalot of favourabletalk.
Make sure they talk about YOU, and get yours NOW! Entirely self-contain-
ed . . uses NO chemicals. Easy to do . . Complete with Pipes and illustrated rou-
tine.

I A pipe dream that's a reality..a reputation builder!!!

Price 35/- U.S.A. $10.00.
I " ELUSIVEHIPPERTY-HOPRABBITS
ONE OF THE GREAT CHILDREN'S TRICKS OF ALL TIMES , . . ADULTS LOVE IT TOO.
PLEASE NOTE: Thistrickwaspurchasedby JACK
.
HUGHES and I from its originator . NORMAN, many
years ago. We changed the apparatus to its presentform
and the ROUTINE and PATTER wasdevisedby myself.
We gave Abbot permission to make it in the U.S.A. ..
BUT
. . we are the ONLY ones LEGITIMATELY ENTITLED TO
SELL IT IN THIS COUNTRY or the rest of the World.
EFFECT: Two attractive cut-outs of a white rabbit and
a black rabbitareintroduced. A coverdecoratedwitha
white top hat is placed over the white rabbit and one with a
black top hat placedover the black rabbit.
l
Thetrickis for the rabbits to change places. Thisisdoneseveral times, the spectators becoming
suspicious.Yes,theychange places but thespectatorscan't miss the way the magician turnsthe
1 covers, and there is only one explanation, and that, is that the black rabbit is white on the other side
and the white rabbit is black on its other side. Theaudience is not slow t o tell the magician and imagine
thelaughterandsurprise when the reverseside of the whiterabbitis shown to be BLUE andthe
reverseside of the black rabbit turns out to be YELLOW. Spectatorsmayexaminetherabbits. A
clever eff'ect, well made.Rabbitsstand on neat black bases.Full size.

I Price 55/- U.S.A. $15.00.

0 OUTSTANDING SUCCESS !
“FANTASTIC FORCE”
HARRY NICHOLLS
A SURE-FIRE-MECHANICAL-FORCEof FOUR
FIGURES, etc., etc.
The apparatus consists of a neat stand, just over 12 inches
long . . thecentredisplay-section o f . which is made of
Perspex . . allowing a clear view right through. Cards, each
bearing a single figure, a r e freely displayed and well mixed
. . then from their number, Four are taken at random and
placed in the stand, backs towards the audience.
Now . . andCompletelyunderthedirection of Members of the Audience . . thecardsare Moved
.
from place to place . changed around as many times as they like . . making it obvious that the fignres
.
finally form a. combination YOU couldn’t possibly have known in advance. . YET . unbeknown to thern
. . YOU KNOW EXACTLY WHAT IS THERE!!
NOW . . what can we do withthismarvellous“force”? Dozens of things . , andourinstructions
give you many tricks . . routinesandideas. For instance, you candoaterrific Book Test. You can
show, say, a Dozen unprepared Books . . have them i n a pile, or lay them out in a line. Do the “force”
. . say the final number is as in the illustration above . . 3 - 1 - 7 - 2 . . the “ 3 ” ran represent the
3rd book in the row (or pile) the second two figures “17” can represent the number of the page . . and
t h e final “2” represents the line on that page. What conld be fairer than that . . yet you can reel off
the line as easy as falling off a log!
You can do the same sort of thingwithUnprepared Newpapers. It’sQUITE EASY TO DO with
BORROWED books or papers.

You will say that this apparatus is one of the cleverest things you have ever seen . . . it’s working
is MECHANICAL and a joy to use.
Complete with Full Instructions . . Tricks . . Routines and Ideas.

Price 55/- U.S.A. $1 l .OO.

0 KEN BROOKEPRESENTS - -

” THE WINNING WAGER “

by GEORGE G. KAPLAN
A Sensational Effect with Jumbo Cards in which m;lgici:rn has
Five cards Freely Chosen, which he placesbacks outward on :L
stand. He THEN writes something ona, slate or board, and leaves
it in full view of the audience.
He hands a E5 note to a spectator to hold and wagers the 2 5 to
nothing that he has written the name of a card which the spectator
will shortly choose from t h e five. If he fails, he states definitely that t,he holder of the 1 5 may keep it.
The, choice is made , . i t is an en.tirely Free Choice. . he (‘an pick any one o f the five cards on display.
THE OTHER four cards are then shown to beAll Different . . nevertheless . . the magicianis correct!
.
A BRILLIANT ROUTINE . COMPLETEwithPATTER . . No sleight of hand . . cards are un-
faked.Ideal for Stage . . PlatformorDrawingRoom.
Complete with Jumbo Cards and splendid apparat,~~s comprising of :l very nsef111 Stand and Hou-
lette, both of which can be used for other effects. HIGHLY RECOMMENDED.

Price 55/- U.S.A. $1 1.OO.

T

l
DOROTHY
and
ROBERTS

Volume 17. No. 4. AUGUST 1961 3'

0 THIS SPECIAL OFFER EXPIRES 3 1 s t AUGUST, 1961

“STARS O F M A G I C ”
B y arrangement with LOUIS TANNEN,New York, U.S.A.

P R E - P U B L I C A T I O NO F F E R

Consider this advertisement as a

GIFT FOR SEVENTEEN SHILLINGS and SIXPENCE
This is my way of introducing to you one of Magic’s greatest books, “ THE STARS OF MAGIC ”,
by some of the “Greats in Magic”. The original was published in loose form as per details below and
sold for over thirty-two pounds ($94.00.). Now it is being re-printed as a regular 8; ins. by 11 ins.
Hard Cover Book, with hundreds of illustrations by ‘George Karger.
Date of publicatiun . . end of July Price, f4/7/6d. ($12.50.). ..
However, you can send f3/10/- ..
mention this offer . . and save yourself seventeen shillings and sixpence . , but you MUST DO IT NOW!
This offer expires 31st August, 1961.
The book is sent direct to any address in the World and should arrive by the end of August.

Remember this is a Special Pre-publication offer - %3/10/-.

No. 1.. SCARNESERIES: No. 7. DR. DALY SERIES:

l-Classic
Routine
Ball .......................................... $3.00. l-Cards Up the Sleeve.......................................... $5.00.
2-Sdver and Copper Coin Boutme....._..... @3.OU. 2-Itinerant Pasteboard .......................................... $3.00.
%-Triple Uoincldence Card Effect ..................$ 1.00. &Cavorting Aces............................................................ $3.00.
................................................................................................
.......................................................................................
No. 2. 1stDAIVERNONSERIES:
l-Triumph Card Miracle .................................. $2.00. No. 8 SLYDINISERIES:
%-Cutting the Aces................................................. $2.00. l-Miracle Cigarette, Torn & Restored $5.00.
L S p e l l b o u n d , Coin Routine.............................. $2.00. 2-Flight of the Paper Balls, Hilarious $3.00.
&.Kangaroo Coins, Coins Thru Table......$2.00. &Flyaway Coin Routine.................................... $2.00.
................................................................................................

No. 3. ALLERTON, HOROWITZ, JARROW

SERIES: No. 9. ROSS BERTRAM ON COINS:
l-Bamboozle Monev Manic .............................. $1.00. l-Five complete feature coin effects.
&Pump Room Phantasy, Card Gem ......$1.00. Rubdown, Doublecross, Passing
3-Egyptian Ball Mystery .................................... $1.00. the Half backs. The Porous Pan,
4-Chink-a-Chink, Superb Table Efect ......$1.00. Coin Assembly. 12 pages.
5-Hanky Panky, Cigarette Penetration $1.00. Complete .................................................................. $8.00.
_....
...........................................................................................
No. 4. CARLYLESERIES:
l-Decapitation, Match Wizardry ..................$1.00.
2-Homing Card Sensation.................................... $1.00. No. 10. VERNON ON MALINISERIES:
S-Wrist Watch Steal and Coin Routine $2.00. 3 Miracle Effects, Bfalini’s Own Colour
Change, Impossible Vanish of a Coin
and Blindfold CardStabbingTrick.
No. 5. 2ndDAIVERNONSERIES: Each withthe famous Malini touch.
l-Cups and Balls Routine Impronlptu $5.00. Complete. .................................................................... $10.00.
‘L-Ambitious Card, Terrific ............................. $2.00. .-.........................................................................................
%-Mental Card Miracle .......................................... $3.00.
................................................ ...............................................
No. 11. VERNON ON LElPZlGSERIES:
No. 6. 3rdDAIVERNONSERIES: 4 Effects,Leipzig’sopenerand Leip-
l-Ring on Wand, Six Impromptu zig’s Acrobat CardSensation.Stack
Methods .................................................................. $5.00. of coins thru hand and torn and re-
2-Slow Motion Four Aces.................................... $4.00. storedcigarettepaper.Masterpieces
%-The Travellers, Card Feat ........................ $3.00. of Magic. Only......................................................... $10.00.
 0 0 0

IT IS AN unusual picture on our front cover this month

as i t isone of AI Roberts qnd Dorothy hlagicPict,ures”
which tooksixmonthstomake. It consists of threehun-
dred and fiftypieces of cloth, all hand cut by AI and Dorothy,
yet they can compose the picture on a board in ten minutes.
It’sjust,one of thehundredand one items which A1 and
Dorothy include in their ten different acts.
Here is a team which represents the hard-working profes-
sionals, for it really is hard work t o maintain the really high
standarddemandedandconstantly find new material a t a
rate which mould have been deemed impossible not so many years ago. Gone are the days when one act could
he taken around the Variety Halls for years without change . . the theatres themselves are gone and one audi-
encelookingin a t Television outnumbers the whole of the mdiences which would have seen that act during
severalgearsduration . . A1 andDorothyhaveTENactsconstantlyreadyforperformance so that they can
altl-ays have something fresh to offer. Theirever-changlngVariety Show iscalled“Would You Believe It?”,
and itrunsfortwohours. Magic, Cartooning, Music, Ventriloquism, Black Light,RagPictures are all in-
cluded in t h e show and as if this is not enough to perfect, Dorothy also performs “Trouble Wit”.
m e famil>- show is a greatfavouritethroughoutWales where thesetcanbe moved fromtown t o town,
provideall-roundentertainment.But AI andDorothyalsoperformthe more sophisticated show forCabaret
andhavemany Televisionbookings,being the onlyonesshowing “JfagicMatches” . . indeed theyhaveten
different acts.
so with entertainment ranging from Stage Illusions t o extreme close-up work withmatches,thisversat)ile
collple keep working and are nom in their fourteenth season a t Caister Holiday Camp, Great Yarmouth.
To AI and DorothyRoberts we wish continued success and all the good things in life.

LEWIS GANSON.

CONTENTS - - - - - -
From the G% Desk - Lewis
Ganson _...__ The
91 Use of the Natural Bridge - Rink ...... 103
Hush Money - Wilfred
Tyler .__._, ... .. 92
The
Penny and The
Match
Box - Tom Sellers 104
Predicta-Coins Routine - Ken
de
Courcy 93 “Fascination” - Eddie
Joseph ..._.. ..,_.. 105

Centre Reverse - Robert

Hamilton _...._ 95 A Simple
“Number”
Prediction - Tom Sellers 108
The
Encircled
Number - Tom Sellers _.._.. Lewis
Ganson
96 Explains -
TheMagician’s Voice - James Dodding __.._. 97
Frederica’s
“Cardolease” ... __ ...... 109

Disintegration - Len
Belcher .,.. __..._ 101 Review - Harry Stanley ._... _...__ _...__ 110

THE BEN ispublished on the 10th of each month by HARRY STA4NLEY, 11, Frith Street, London, W.l. --

Single Copies : 2/6: Twelve months

subscription 25/-. U.S.8. Single Cropies 40 cents: Twelve months
subscription $4.00.

Editor : LEWIS
Art,GANSON. EditorPATTEN.
: DENNIS

@ HBR,RY STANLEY 1961. Contributionsare only accepted on thetermsthatthecopgright belongs to

Harry Stanley.

91
 WILFRED TYLER’S
H U S H MONEY
This gag has been a winner with me for some
All that’s required is a large envelope with the bottom edge
removed and the words “HUSH MONEY’’ printed on the
address side.
EFFECT: On performer’s right is a
stooge who has been helping in maybe one
or maybe several tricks. He is just about
to leave the stage when you hold him back
saying, I do appreciate the
‘6
way you
have helped me, old man, and as a over to left where on his table on left side
return I intend to pay you for your
services.” (Performer pulling wallet from
his pocket.) “Will a 5 l note be ample re-
92
long time.
ward?’’ Extend hand with 5 I note as if to
hand it tohim, then quickly withdraw say-
‘ I
ing, Perhaps asit’s-after all salary, I’d
better put it in a salary envelope!” Per-
former holding 51 note in right hand leans
is the large manilla envelope (mine is
twelve inches by ten inches). This is face
down with flap side towards table. Bring
envelope across body still keeping flap side
towards self. Holding envelope with left
hand, open up flap with right hand,
which is still, incidentally, holding the 51
note. The flapis now open and so right
hand goes into envelope with note,but
goes right through bottom of envelope
and left hand,leaving hold of envelope (as
of course, envelope will stay in position, as
arm going right through naturally retains
envelope).
The left hand obviously takes hold of
5 1 note andplaces this in left handpocket,
to the amusement of audience! Left
hand once again holds envelope and right
hand is withdrawn and holds envelope well.
With both hands the envelope israised
towards lips so that the flap can be licked
and pressed down. The envelope is then
taken in right hand (flap end) and handed
to assistant flap side outwards this time----
thus displaying the words “HUSH MON-
EY”.
As envelope is handed to him say, “Now
don’t go tellingeverybody how it is done”.
 PREDICTA-COINS
ROUTINE
W H A T AN EXCELLENT routine Ken Brooke has pro-
duced for this trick! But, you know how it is, one
likes to be different. I’ll go further,it behoves us to be
different ! Here is another routine based on Ken’s, which has
a few advantages. First, itis always ready and, secondly,
there is nothing left for the audience to examine. With
close-up magic the spectators seem a little
grab-happy and this thwarts them.

I’m sure Harry won’t mind if I disclose

the secret of the box. It’s necessary
because I’ve altered the crucial move.

The props. required are the brass box

and lid, a blob of wax, six pennies all bear-
ing different dates, a further penny which
is a duplicate in everyway (including
date) of one of the six, a handkerchief in
your right-hand trouser pocket, an empty
match-box (the 2d. variety), and a small
piece of paper with thedate of the duplicate
penny written on it.
Place the wax in the centre of the re-
bated bottom of the box and stick the dupli- ,
cate penny to it tail-side outwards. Press
the penny well home. Place the six pen-
nies in any order into the box, but have
them all tail-side up. The lid goes on the
box and it is then placed into the match-
box along with the prediction which has
been folded small. 8

You are now ready to fool the pants off

the masses.
- Produce the match-box and inform your
audience that it contains one of the finest

93
mysteries in the world (true !) . Open it who should be on your right, gives you the
and remove the brass box, leaving the pre- excuse), you will have no trouble.
diction behind. Hand the match-box to a
spectator, asking him to keep it closed for Place the box downon the table (re-
the moment. member, it still appears to contain six pen-
Tip the pennies out of the box and have nies) and reach into your left trouser-pock-
them examined, drawing attention to the etfora handkerchief. It isn’t there, s o
different dates. The box and lid are plac- you dump the coins as quietly as possible
ed down on the table, then the six pennies andtrythe right-hand pocket. Take out
are arranged in a line near it. The pennies the handkerchief and place it on the table,
should be head-side up. as in Figure 2, then place the box in the
position shown.
Now ask another spectator to take the
pennies one at a time, in any order, and Pick up corner “D” and draw it over to
place them into the box. When all six are corner “A” (Figure 3 ) which has the effect
in, the lidis to be placed on top. Whilst of turning the box over. Fold corner “C”
this goes on, you turn your back. over to “B” (without movingthe box) and
finally, corners “AD” on to “BC” (F’lgures
Now pick up the brass box and hold it 4 and 5). Make a mystic pass and unfold
in the right hand, as shown in Figure 1 . the handkerchief by a reversal of Figures
Notice thatthe box is held between the 5, 4, 3 and 2. The box is empty.
thumband first and second fingers. So,
too, is the lid. As you ask the spectator Again fold up the handkerchief as be-
to open the match box, place the brass box fore, and tell the audience that one of two
onto the left hand. Again look at Figure things can happen. Either the pennies can
1 . As the left-hand comes under the right, come back or, and here you grip corner
the right thumb releases its pressure and “B” with the left hand and corner “ C ’
allows the box to fall backwards towards with the right, the box can vanish! Pull
you. As it falls, its turnover is completed the hands apart and lift the handkerchief
by a gentle push from thesecond and third from the table (Figure 6.).
fingers of the right hand.
The box now lies on the left hand upside Due to the unseen roll of material at the
down but, owing to the coin stuck to its back, the box does not fall out.
bottom, no change is apparent. You, it
seems, have merely placed the box on your A casual tilt of the right hand (Figure
hand and removed the lid. In a few mo- 7.) slides the box towards the left hand,
ments it has taken you to do this the spec- where it is gripped, then the main part of
tator has opened the match-box and found the handkerchief is allowed to hang down,
the folded prediction. Place the box lid as in Figure 8. Bundle it up and place it
to oneside and ask another spectator to tell in your pocket.
you the date on the top coin in the box.
There remains the boxlid.Logically
He looks, sees the date on the duplicate and
thatmust go too. Any standard coin
calls it out. Now request another man to
vanish will do. Take back the match-box
call out the date on the prediction.
and prediction and place them in your poc-
As he unfolds the paper, grip the box ket, then, as Ken Brooke would say,
L‘

with the right hand and allow the left hand Mount your horse and ride away!”.
to fall away from it, taking the six coins
with it. If you turn your left side towards Not-the Box is sold by us . . made in
the audience as you do this (and turning metal and Chrome Plated, price 12/6, in-
towards the spectator with the prediction, cluding Ken Brooke Routine.

94
 O N E OF THE most popular methods of revealing a selec-
ted card is the reversed card. Such a revelation has
great “audience appeal”, in that the discovery of the card is
visual.

A s with most card sleights, there are many methods avail-

able for performing the reversal of a card. My version con-
sists of reversing a card whichisplaced
into the centre of the pack and was evolved of pack with left thumb. Push the card in
while playing about with the sleight called the centre of pack at an angle as in Figure
Top Change, described previously. I . Right hand comes over the pack,
thumb at bottom end and right fingers push
0 EFFECT: the cardthe
into pack so
top
the
that left
Spectator is given free choice of any corner projects from centreof pack as in
card in the pack which performer openly Figure 2 of the Top Change.
places in the centre of the pack. Perform-
er cuts the pack twice and then chosen card The left thumb immediately covers this
is shown reversed in centre. protruding corner and
the left hand holding
the pack looks the same as initial position.
METHOD: Turn right side
to on audience. The right
Spread the cards and allow spectator to hand approaches the pack and grips the
select any card. Holdpackin left hand cards above the protruding card with the
with thethumb along the long side andthumb at the inner shortend, forefinger
thumb-tip adjacent totop left corner. on the top long edge and remaining fingers
at outer short edge, Figure 2. (In Figure
I Take the card face downfrom spectator 2 the left thumb has beenraised to
with right hand and riffle left top corner show projecting corner.)

95
 These cards are carried forward in front The right hand now comes to the pack
of those in left hand and under cover of again and cuts it once more, thus bringing
right hand the selected card is levered up the reversed card to the
centre. This
to a position at right angles to thepack, by second cut should be performed in the same
pressing down on the protruding corner. “sty1e”and at the same speed as the first
In fact, in the same way ascard is manipu- cut.
lated in theColour Change, Figure2.
T o conclude, ask spectator to name his
The right forefinger clips the edge of the selected card, fan the
pack face up exposing
chosen card as in Figure 3 ; the left thumb reversed card and allow spectator to re-
releasing its hold on the card causes the move it and verify that it is his card.
card to swing down onto the cards in right
hand,the forefinger acting as ahinge. Neatly performed it appears that card is
Thisactionresults in the card being re- replaced, the pack is cut twice and thencard
versed (in Figure 3 thelefthandhas magically reverses itself.
been omitted for sake of clarity.)
Note: It may be found easier to re-
The right hand places its cards behind verse the card if the left thumb retains its
those in left, bringingreversed card to bot- grip on the card, right forefinger is then
tom. Just to check on the position of the used to clip the card against cards it holds
cards at this stage; they should be back and right handmoves back and above cards
outwards in left hand, long sides parallel inlefthand. The card is now reversed
with the floor and reversed card at rear. at back of right hand packet.

T H E E N C I R C L E DN U M B E R - TOM SELLERS
BY

e Effect: Briefly, you tell the number

4
written within acircle on a sheetof paper.

0 Requirements: Make up a sheet of

paper with circle and numbers as shown
in Figure 1 .

0 Method: Handthesheet of paper

to a spectator. Request that any number
shown at the top of the sheet be written
withinthe circle. Then tell your helper
to write the same number to the right and
left of the circle, and write the figure “3”
above and below the circle-see Figure 2.
You nowaskforthetotal of all the
3 figures and when this is given you can tell
the number within the circle.
Q This is how you know. Divide the total
by “3”, thensubtract “2” fromit.This
will be the number within the circle. EX-
3 ample (Figure 2 ) , total “27” divided by 3
equals 9. 9 minus 2 equals 7.

96
 THE M A G I C I A N ’ S V O I C E - -
- BY JAMES DODDINC
Lecturer in Speech and Movement at The Rose Bruford Training College of
Speech and Drama.
Lecturer on Acting. Voice and Movement for many local Authorities.
Associate of theDramaBoard.
Professional Producer,Actor and Adjudicator.
Guest Lecturer in Movement at the Royal College of Music Opera School.

BEFORE AN AUDIENCE sees what There are many exercisesdesigned to

we are going to do, before it sees
our magic, we ourselves are heard and seen.
We may only have walked on to the stage
and said five words “Good evening, Ladies
and Gentlemen”, but in that brief moment
an impressionhas already beenmade. If
we have entered and spoken in a pleasing,
natural and sincere way, we arealready off
to a good start.
In this article we are going to consider
the Voice-the necessities for speaking
well, the most common faults wecan make,
and how we can begin to put these right.
Obviously in such a short article it is
only possible to give an introduction to the
subject, but it is hoped that it will be of
help and interest to the reader.
Relaxation:- In order to speak wellit
is necessary to be physically relaxed. If
there is undue tension in the body, particu-
larly around theregion of the arms, should-
ers and neck, the organs of speech will be
affected andthe voicewill sound tight,
strained and unnatural. Discomfort will
be felt by the speaker, and after some time
a sore throat will develop, with the possi-
bility of leading eventually to complete loss
of voice. This point of having a
physically relaxed body cannot be over-
emphasised, for tenseness willaffect not
only the voice but also the movement and
the result willbe a strained, jittery per-
formance. To be able to put an audience
at ease the performer himself must be at
ease.
ease away tension, and some of these are
detailed at the end of this article.
0 . AUDIBILITY :
It is necessary to be heard and under-
stood by every member of the audience.
So many performers only direct their re--
marks to the front rows, with the result
that the majority of the audience, being
unable to hear, become restless and bored.
If possible get used to the hall before the
performance starts by talking aloud to an
imaginary audience-get used to the feel
of the place, and experiment until you feel
easy. If members of the audience come
up to help you, make sure thatthe audience
can hear what you are saying to the volun-
teer assistant-don’t just have a private
conversation of your own and leave the
audience waiting “out in the cold”.
Always remember that at the back of
every audience there is an old gentleman
with an ear trumpet, and he has to hear
justas well as everybody else. But this
business of making oneself heard does not
necessarily mean shouting-it means pro-
jecting, getting thevoice out, andnot leav-
ing it stuck back in thethroat. In fact,
imagine your voice not coming from the
mouth at all, but from somewhere at the
back of the hall. This may sound unusual
to read, but in fact if you can forget about
the mouth, throat and all the rest of the
mechanism, and imagine the voice coming
from way outside the body, then YOU will

97
automatically be projecting easily and
pleasantly. Of course, when you are re-
hearsing you must pay attention to articu-
lation-how thewordsare formed-and
thesounding of theconsonants.Words
mustnot be slurredover, butmust be
pronounced crisply, with life. For in-
stance,therequest “I want someoneto
choose a card” can easily become “A WO
suwwan te chew a kah”. Admittedly the
audience will puttwoandtwo together
and work outwhatthespeakermeans,
but they should not have to do this.
A common fault made when projecting
is to place the voice on a higher pitch.
This should be avoided at all costs, for it
causes strain, and.becomes very monoton-
ous to the listener. Aim to keep the same
pitch as that used in normal conversation.
Before we leave this question of audi-
bility, just a brief word about the Micro-
phone. If you must use it, make sure
that it does nothide your face, do not lean
forward into it, but try to forget about it.
Do not talk at it, buttalk to your audience,
usingordinary
conversational volume.
There is no need to increase the volume-
the amplifier will dothatforyou. Do
not thump it to see if it is switched on,
and do not constantlyfiddle with thestand,
rechecking the height-as I said before, if
you must use it, forget about it.
0 PACE:
Generally speaking, the speed of speech
before an audience should be slower than
that in ordinaryeverydayconversation.
There should, however, always be a variety
of pace. Aim for this variety all the time ;
varietyinspeech,varietyinmovement,
andvariety in the effects youpresent.
Listen to anordinary conversation and see
just how varied the pace is. This variety
gives life to the voice, and makes it inter- if you mean what you say then you have
esting.
MUMBLING:
Resist thetemptationtoputin little exactly the same words.
remarks under your breath. The audience theperformerwho
98
may have difficulty in hearingthem. Make
sure that every remark can be heard, and is
necessary and relevant at that particular
moment. Be definite and sure inwhat
youhaveto say. Wanderingsfromthe
point may be effective, but unless the
speaker has a real inventionthenthe
audience will wander also. Itis essent’al
that every word you speak has a purpose,
a meaning, and is important at the particu-
lar momentforthe success of youract.
This means constant rehearsal and constant
pruning. Cut down all the way, and even
if you have a favourite little joke or story
which you always like to include, if it is
not absolutely essential to the act you are
performing,then
cut it out. All this
demands a great amount of self-discipline,
but it will pay dividends.
a ACCENT:
This is not quite as important as some
people would have us believe. If accents
are to befrowned upon, then an “Oxford”
accent is just as bad as a North country
accent. It is the thought behind the voice
which is important, the sincerity, and it is
essential, in order to keep this sincerity,
that the wayof speaking shouldbe the per-
former’s own, and not an affected way of
delivery. If youhave an accentdonot
tryto disguise it. It will soundstrained
and false, and unless you are an accom-
plished actor everymember of the audience
will be aware of what you are doing-
trying to talk “posh”. An accent can be
attractive,and providing theperformer
speaks slower and more clearly than usual,
then this accent can itself be an asset to-
wards the success of the act.
CONTENT:
Sincerity is again the keynote here, for
won half the battle. This means adjusting
pattertosuityour own personality. Do
notjusttakeaprintedroutineanduse
Remember that
devised theroutine
spent a great deal of time finding the exact An audiencemay laugh at“doubtful”
words necessary to suit his own person- material, but it may also despise you for it,
ality. This means that you have to study and if you offend a single person in your
the routine and then adapt it to your own audience then you have failed, for the aim
particular style, using the words you your- of any entertainer is to please. This is par-
self would use. ticularly important in chidrens’ shows.
Children and young people are all the time
Remember that you are an individual. searching forstandards, and they will
You are completely different from every- accept these standards from people they
one else, and the way you present your admire. You areone of these people,
magic can be completely different from the SO be aware of your responsibility, and
wayanyone else presents it. Do not be give them the best possible standards.
a copyist, but work out your own way.
As an artist, be creative. It is harder And now some points to remember-
work, but it is the sincere way to work, Speak clearly. Speak slower than usual.
and your audience will appreciate it. Make sure everyone can hear every word.
There are many ways of working out Be yourself-sincerity is the keynote.
the words you are to use in youract. Look at the people you are talking to-not
Improvise into a taperecorder, using props up at the ceiling or at the clock at the back
a t the same time, play it back and then of the hall, or at the floor.
decide how it can be improved. Or get
afriendtotake down your improvised
EXERCISES :
words in shorthand,have it read back, For getting Rid of Tension,General
prune it, change it, work it out again, go Loosening up ( a ) Before a loosen-
over and over until you feel it is right, and ing there should be a general tension, just
then copy it all out and learn it. By now as a cat stretches before it relaxes, and just
you will have gone over the words enough as the human body yawns and stretches
times to give you material for improvisa- before settling down to sleep.
tion should you suddenly forget your pre-
pared words, and circumstances may arise Stand with feet abouteighteen inches
where you have to change your prepared apart, heels on the floor, a good firm base.
script, but I am convinced that it is
essential to have this prepared script as a (b) Stretch upas high as possible,
tense the fingers, arms, head, neck, shoul-
basis for your act. This is the foundation
ders, in fact all the body, inside and out.
on which you can build and elaborate if
need be, but whatever happens you still (c) Drop forward from the waist, feel
have the strong foundation. easy and completely loose.
Try not to use magical termsto an ( d ) Imagine a cord through your
audience of laymen-i.e. “silk” when you spine slowly be’ng tightened, you slowly
mean silk handkerchief, “deck” of cards. unroll and return to youroriginal standing
‘6
a production”. Remember, if the audi- position.
ence does not know what you are talking
Repeat three times.
about itwill soon lose interest. It is like
watchinga television programme ‘where Exercise for Posture and Raising the Rib
the speakers occasionally put in words in Cage, It is important to stand well
a foreign language that you don’t under- when speaking.This exercise will help
stand-irritating. to gain the correct position.
Finally a word about the material itself. (a) As in first exercise, feetapart,
All the time have a standard, and taste. good firm base.
99
 (b) Stretch up as before, butdo not (d) Lift anddropalternate shoulders.
tense the head or neck, just the arms and (e) Roll shoulders round easily. First
hands. going back, and then forward.
(C) Working from the top down,relax Repeat three times.
the fingers, wrists, elbows, shoulders.
Loosening up the Hands and Arms. If
(d) Bring feet into a normal standing there is tension in the hands this travels up
position. thearmsand affects the shoulders and
neck, in turn affecting the speech organs.
LooseningupTheHeadandNeck. If
there is tension here, the head maybe (a) Hold hands loosely in front of you.
poked forward, ortilted too high or to one (b) Look at fingers hanging loosely-
side. Theremay also beundue move- imagine they are Horrible growths and try
ment of the head when speaking. to shake them off.
(c) Continueshaking fingers loosely
(a)Stand well, well poised, weight and vigorously.
forward over the balls of the feet.
(b) Dropthehead loosely forward. NOTE ON EXERCISES:
Most benefit will be gained from these
(c) Slowly raise it to level, drop it
exercises if theyare practiced regularly.
back.
They are particularly useful justbefore
(d) Dropitforward and back. making an entrance onto stage.
ReadingAloud. One of the best voice
(e) Roll it easily round to the right- exercises you can do is to read aloud regu-
once round. larly. Make surethat you areopening
( f ) Roll it easily roundtothe left- your mouth, andpractice projection, keep-
once round. ing the pitch of the voice at thesame level.
By this I mean, do not raise the pitch of
(g) Dropitforward,bring level. the voice when projecting, but keep it at
the samelevel as when speaking normally.
(h) Dropitback, bring level.
Material to use-Passages which require
Repeat six times. bigness of voice. i.e. Passages from The
Old Testament
Loosening up the Shoulders. If there is
Edgar Allan Poe stories for pace, pause,
tension in the shoulders they may appear
to be hunchedup, or round shouldered. inflection, and creating atmosphere.
Well, thereit is. An introduction to
(a) Stand well as before. this complex, fascinating yet often ignored
(b) Lift shoulders up anddropthem. subject of Voice. Thinking of changing
to a silent act? That’s where movement
(c) Do this easily and quickly. is important, and that’s another article!

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1 00
left) but that’s the one I sewed the fish- fly out of mypocket and re-integrate so to
hooks in-well, I didn’t actually sew them speak, in my left hand.”
in-I just hooked them in the lining. 9 ,

(The right hand takes one ball from the
table, secretlyaddingthe finger-palmed
one to it, and puts both in the left hand.
The other ball is placed in the right hand
trouser pocket, and instantly brought out
again, finger palmed.)
‘I
Youwill notice that if I place one of
these balls in my left hand, and the other
in my trouser pocket,and then just tap the
back of my left hand-so-the ball flies out
of my pocket and back into my hand. It’s
rather curious isn’t it?”
(You are set to repeat this move now
and you do so, pattering something as fol-
lows.)
You seem a little surprised by that sir, into a ball, and place it in my left hand-.
‘ 6
(The left hand is opened, and the two
balls it contains are dropped on the table.
Then one of them is opened out and dis-
played.)
“I detect a certain air of unbelief, but I
do assure you that both balls are quite in-
tact.”
(The second ball is opened out and the
performer points this situation and awaits
applause. The sheetsaredrapedonthe
table and in taking a little bow, performer
secures the ball from the clip and finger-
palms it in his left hand.)“Didn’t you
see exactly what happened sir? Letme
show you again. I take one sheet, roll it

perhaps if I repeat it more slowly, you will The second one is torn up, and placed in
see exactly what happens.
9,
my pocket. Thereit dissolves into thin
air, and re-integrates in my left hand-so
(You finish the move with one ball again that we are back where we started.”
finger-palmed in the right hand, and two
balls are dropped from the left hand on to (The two sheets are opened out as be-
thetable.)“There is of course, a scien- fore-again with a slight stall before open-
tific explanation for this. One ball is put ing the
second.) “I said there was a
into my left hand.” (Do so again adding scientific explanation : there is also another
L‘
finger-palmedball.) Now, toleave my explanation which is not quiteso scientific.
pocket the other ball first disintegrates. I I blush to informyou that there areactually
can’t very well show this happening inside three balls-the two you see here and a
the pocket, so I’ll give you a rough idea third one, torn in pieces, in my pocket.”
outside thepocket.Here is the ball dis- (Here the pocket is pulled out to show
.I
integrating. the second of the twoballs which was drop-
ped from thetop of the pocket at beginning
(The remaining ball on the table is open- of the effect. The two torn balls remain
ed out and torn up, then the pieces are hidden in the top.) “Fortunately for me,
balled up,andapparently placed in the as soon as the tornpieces leave my pocket
pocket. Actually they are tucked into the theyautomaticallyre-integrate, SO that
top, and the hand comes out andis unosten- every time I perform this effect I end UP
tatiously shown empty.) better offthan when 1 started out.” (The
final piece is opened out and the performer
‘L
In their disintegrated state the pieces has nothing to palm or dispose of.)

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102
 T H E U S E OF
T H EN A T U R A LB R I D G E
THIS IS NOT a trick in itself, but an item of
knowledge which can be used in several
tricks. On occasions it will make your card magic
so much easier.

Quite alot of good quality playing cards front side and your thumb at the back-end
(these are cards with a lot of spring in of the card. You will feel the division be..
them) are not absolutely flat, but have a tween the face-up card and the card im-
natural longitudinal bridge, so thatthe mediately above it. The cut is simple.
cards are concave at the face-side. This
“bridge” is only slight, but it is definitely For example, place the four Aces face-up
there and is sufficient to be made use of. in different parts of the face-down pack.
Have thepack shuffled and squared. Now
Most American playing cards have this you can cut to thefour Aces in sequence.
property, but almost any pack can be
transformed into a pack with a bridge by 2-If you have the second card of the
simply pressing the pack in that shape. pack face-up, a double-liftis extremely
simple. Study Figure 1 , in which the
However, in these packs the bridge is bridge is somewhat exaggerated, and you’ll
only temporary and it is better to look for see what I mean. Withthe packin the
a packoriginally made in that shape. I left hand as in the photograph, simply press
will give you three examples for its use: lightly with the second, third and fourth
fingers on the right sides of the cards and
1 -Having a card (or more) face-up in the two top cards will automatically rise at
the pack, you can easily cut above the face- the thumb side. Without the slightest
up card by putting your fingers at the short trouble this givesyou a break under the

1 03
two top cards with the thumb. By relax-
ingthe fingers and moving thethumb
slightly to the right, the two top cards will
slide togethertotherightend of the
pack, to be gripped by the fingers of the
right hand.
3-If you cutthe face-up card to the
middle of the pack, or if you already have
one there, you can secure a break at any
moment below the face-up card. (See Fig-
ure 2.) No need tokeep a troublesome
break, while you need your fingers for an-
other move. Just square the pack at the
sides and the break will be there, any time
you want it.
A fine use to put this knowledge is in
Dai Vernon’s “All Backs’’ routine in “Ex-
pert
CardTechnique”(third edition).
This is by no means a simple trick to do
and you must master your moves well so as
notto fumbleduringthe trick at times
when fumbling mightbe disastrous. Now,
try out this trick, applying the above prin-
ciple. Everything is now fairly simple,
no difficult double-lift andnobreaksto
hold. Instead of holding a break, you can
now square the pack. The break will be
there waiting for you.
You will find a lot of other tricks, as for
instance “The Ambitious Card’’ which are
made easier bythe use of this “natural
bridge”.
The principle need not be confined to
theuse of face-up cards in the pack. If
you takea card and give it an artificial
bridge in the opposite direction, this card
can play the same role as the face-up card.
All theaforegoing, of course, doesn’t
mean that you can drop your double-lift
and not bother any more about breaks.
Play around withthis and you’ll be sur-
prised how many uses you will findfor this
bridge.

T H E P E N N Y A N D T H E MATCH B O X
TOM SELLERS
0 PREPARATION: Trimoneend of
the drawer of a match box so that it will
grip a penny, not too tightly, between the
drawer and the cover. Put a few matches
into the drawer then place the penny be-
tween the drawerand the cover. Keep the
drawer sticking out a little and place it on
your table, beside the other penny and a
piece of paper.

0 METHOD: Pick upthe box, grip-

EFFECT. The performer
shows
a ping the penny against the cover with the
match box to be empty, closes same and finger and thumb of your right hand. Take
places it onthe table. Next,a penny is out the drawer with your left hand, tip out
taken and folded up in a piece of paper, the matches and show thedrawerto be
which is then torn into small pieces. The empty.Replacethedrawer half-way in,
hands are shown perfectly empty, then the then turn it upside down, closing the box
match box is picked up, shaken, then open- completely withyour right fingers and
ed and the penny tipped out into view. thumb as you place it on the table-this
move prevents the coin from talking.
0 REQUIREMENTS: Two pennies,a
match box and a small piece of paper. -(continued on page l 07)
1 04
 B y E D D I EJ O S E P H

MANY YEARS AGO, I purchased from
Eddie the“rights” to this trick.
But when I learned that the chemical used
was poisonous, I decided not to offer it for
sale. However, a version is being sold by
other dealers . . so in fairness to Eddie, a
great man of magic, I am publishing the
secret here, so that at least, the fraternity
will know to whom is due the credit for
this magnificent effect.
YOU are conscious of all your sense organs.
I am now going to put you in a stateof fas-
cination. Will you stare at this silver cone
as I move my hand sideways . . I want you
to count up to ten. I place the cone back
on your finger. The harmless cone is no
longer cool to the touch . . but it is getting
hotter . . hotter . . hotter . . you now have
a live piece of coal . . you cannot retain it
longer . . if you do it is going to scorch you,
etc., etc . . . .
3,

‘‘
PATTER THEME The foregoing is just the skeleton of the
The peculiar influence exercised upon patter I have used with much success. I
reptiles by the snake charmers in India will realise it will not suit all personalities so,
form the theme of our next demonstration. therefore, I see no point in elaborating up-
This strangeforce can be applied to human on it. The above will formapattern of
beings as well and is known as ‘Fascina- approach at least to this sure-fire weird and
tion’ . Fascination in truth is the first or uncanny mystery.
preliminary stage in hypnotism.When
placed under its influence one cannot THE SECRET
recognise things by their true shape and The name of the chemical is Mercury
form. In other words,the
subject of Bichloride. Itis also known as Corrosive
Fascination is temporarily deprived of the Sublimate. In India I used to walk into a
normal functioning of his sense organs. chemists shop and buy the English Bur-
(To volunteer) . . “I take it, Sir, that you roughs and Welcome Corrosive Sublimate.
have absolute control over all your sense Over here you will probably have to go to
organs. I certainly don’t doubt it . . . I a chemist who knows you well . . tell him
expressly asked in order to emphasise a you want it for a magic feat, and get him
to make you a solutionconsisting of 4th of
later point. I am now going to place you
in a mild state of fascination . . . in other an ounce of Crystals to be mixed with One
words, I am going to make you feel and Ounce of Water.
see things NOT the way they are but just The solution will keep indefinitely with-
as I choose it to be. out any loss of effect. As for each demon-
For our illustration we shall use this stration you need use only two drops at
harmless piece of silver foil. I shall shape the most; the stock will last formany,
it into a miniature cone. Will you please many performances.
place it over your first finger as though it A piece of Silver Foil when lightly rub-
is a thimble. Itiscool to the touch . . is bed or even touched with the solutionwill
it not? You know it is harmless because react miraculously. It will begin to warm

105
up gradually and then become so hot that soon learn by experience how to go about
it is impossible toretainitonthe bare
it. As you remark about putting the sub-
hand. The remarkablethingaboutit ject in a state of “FASCINATION”, you
is
that if the foil is then dropped and allowedtake away the cone and place it over your
to cool and again touched with just ordin- moist finger-tip. As you place it on, just
ary water, it will heat up again.This is
give it a couple of twists. Now move your
the secret, but the application of the solu-hand sideways like a clock pendulum and
tion must be done secretly. ask your assistantto stare at the silver cone
andcountuptoten.The cone is then
Keep the solution away fromchildren . .
transferredto his finger. In from fifteen
Wash your hands after use . . Just use a
to twenty seconds the thing will start to
little common-sense and you’ll have a real
warm up gradually until it becomes so hot
winner.
that he will not be able to retain it any
I have used this effect for nearly 30 longer.
years and naturally during that period de- It is but natural to expect him to drop it
veloped severalsubtle means of applica- at this stage. Allow it to cool . . and then
tion. I shall describe three,
however, when you touch it again with the moist
which I consider amply sufficient to seeyou finger (you will have enough left on the
through all conditions. finger after the first application) to heat it
up again. Afterthe second application
PRESENTATION it will heat up more rapidly.
Invite some member of your audience to SECOND PRESENTATION
assist you in an oriental mysterywhich you Get a pencil with an eraser at the end.
areaboutto demonstrate. Afterthe in- Pull out the eraser and in its place put ;n
troductoryremarks . . showthe small a piece of red sponge. Dip this in the solu-
square of silver foil and roll it into cone tion in advance. Now in your inside
shape. Ask theassistantto stick out his breast pocket have a plastic tube. Place
forefinger. You place the silver cone over the pencil inside the tube with the rubber
it, same as you would a thimble. Now a enddownward. The idea of thetube is
few drops of thesolutionhas been pre- so that the pocket lining will not come in
viously squeezed on to a small piece of contact with the moist rubber end of pencil.
sponge . . just enough to keep it moist and
NOT wringing wet. This piece of sponge Instead of placing the silver cone on
may be left on thetable behind some object your finger-tip you bring outthe pencil
or as I often do, in a small plastic box o: from yourpocket and mount the former on
evenabottle-cap. The plastic bottle-cap the rubber end. In this way, you apply
I have in my right trouser pocket. If the the solution to the foil.
piece of sponge is a tight fit and kept only
moist and not too wet, you have nothing THIRD PRESENTATION
to worry about far as as your trouser lining On occasions . . I have a small yellow
is concerned. In fact this chemical com- cellulose sponge cube already moist and
pound has no adverse effect on clothes if sitting on asaucer. I refer to this asa
used in this way. Do not use a Metal BOX piece of soap. I place the moist sponge on
container . . only plastic or glass. thevolunteer’s palm. He declares it is
cold. I then remark that “I shall place the
However, after youplace the silver cone piece of soap back onthe gentleman’s
on theassistant’s finger-tip, have yourright hand. First I shall wrap it in this piece of
hand in the trouser pocket and contact the silver paper because I wish to avoid direct
sponge with your first finger-tip. All yyu contact with his skin”. By this ruse you
need is just a little moisture . . you wdl will have already achieved your purpose

1 06
by charging the foil openly with the finger-tips. Ask assistant to hold out both
solution. hands. Break the foil into little pieces
and scatter them on his palms. Each of
SUGGESTIONS the little pieceswill sting intensely. He
Although I suggest that you dissolve the will start hopping from foot to foot. As
crystals in one ounce of water, you could, he shakes them off his hands you keep add-
if desired, increase or decrease the propor- ing more. Nowyou saythat you have
tion of “crystals” to the water. It is only suggested to the gentleman that what he
after the preliminary trials that each per- has on his palm is not cool ice but burning
former can settle down to the right strengthcoal and that is why he jumps, etc.
suitable to his particular style of rendering. Before sending him back to his seat, you
Some work rapidly while others prefer a say that as the gentlemanis still under the
more leisurely presentation. state of fascination you should wake him
To store the stock solution you could before dismissing him. Snap your fingers
obtain a dropper bottle from the chemist. . . thank him and then help him away.
This wouldbe safe to carry around and
there is no wasting of solution. The ANOTHER IDEA
strength of solution I indicated here will If you don’t want to carry the solution
heat up the foil in less than twentyseconds around, saturate some Cotton Wool (ab-
after the first application. Itwill respond sorbent) with the solution, allow it to dry
more rapidly on successive applications. . . this may take anything up to 24 hours
Note -T o accelerate action, rub fingers . . but using an Electric Hair Dryer it
across foil. should takeonly a few minutes. Use a
Instead of thesoappresentation you small piece of this impregnated Cotton
could employ an artificial plastic Ice Cube. Wool . . about the size of a pea . . Damp
This is a logical introduction. The solu- it lightly . . place it in a small square of
tion is first painted onthe cube. You foil. Givejust a little rub as you screw
place the Ice Cube ( ? ) onthe assisting into a ball. Place it on the hand. In a
spectator’s palm. Call attentiontothe few seconds the toughest skinned fellow
cool Ice Cube at first. Place itinthe will drop it.
centre of the silver foil to avoid contact This is the wayI use i t . . l clip the cotton
with the skin etc.,etc. A natural ruse, wool-pea between first right two finger-
indeed, to get the solution on thefoil. The tips. The contactwith the foil is made
patter lines could go something like this. when screwing foil into ball. I retain the
“Perhaps you think the soap or ice cube pea between the fingers. In this way, 1
(as the case may be) has something to do work the effect with six different spectators
with it, so we shall dtscard it.”Asthe all at once! All they seeme dois to screw
cube is laid aside you will have naturally a small piece of foil into a ball and hand
collected some of thesolution on your out.

THE PENNY and THE MATCH BOX - the paper on your right upper arm you have
continued from page I04 ample opportunity to
secretly drop the pen-
nyinto yourleft jacket pocket. Face
Pick up the other penny, show it, then front, tear the paper up into small pieces
pick up the piece of paper and fold up the and let them fall to the floor. Show your
penny in the paper, using your favourite hands to be quite empty, pick up the match
coin fold. Allow thepenny to secretly box, shake it, open it, and tip out the pen-
fall into thefingers of your right hand, then ny, toss it into the air, catch it and put it
turn right side to the spectators,by rubbing in your pocket.

I07
 REQUIREMENTS:
A small scribbling pad, three pieces of
paper one-and-a-half inches by one-inch,
and a pencil.
PREPARATION:
Write the date on one of the slips of
paper at thebottom, lay this on top of the
pad and then lay the two other pieces of
paper ontop of it. Step the pieces as
shown in Diagram.
a METHOD:
Pick up the pad and keep the slips in
position by pressure of the left thumb.
Take pencil’ in right hand, write any num-
ber you fancy on the top slip, take pad in
right hand, remove top slip, give spectators
a “flash” of it and put it ,into your left
jacket or trousers pocket. Take pad back
into left hand again, ask for a four-figure
“number”andwhen given this write it
on the topslip. Now ask the same person
108
to give you the “date”, which you pretend
to write on the top slip. You really write
the “number” over again, above the date
onthe bottom slip.You then withdraw
this slip, hand it to your helper saying,
“
the experiment generally works on a date
like this, but we shall see”.
Place the pad into your right hand, and
as you take the left hand away, the slip is
slid into theleft fingers with the leftthumb.
The left hand goes to the pocket and comes
out again with the same slip. All yo;
have to do now is to have the “number
verified, thus proving your prediction to be
correct. .
A method of working the experiment,
using different colouredpencils could be
as follows. Have two pencil-stubs-one
which writes red and the other which writes
black. Hand the black one tothe helper
saying, “I will use the red one first”.
Write your prediction ( ? ) in red, give a
flash of the slip then put it into your left
hand pocket. Pretend toput the pencil
into your right pocket but finger-palm it
out again. Now take back the black pen-
cil and ask for a four-figure number.
Under cover of the pad, switch pencils and
write the number in “red” on the top slip.
Ask for the “date”-switchpencil-stubs
again and write the “numberl’ instead of
the “date” above the dateon the under-slip.
Hand this slip to helper and then finger-
palm the top slip in left fingers. Apparent-
ly withdraw this from left pocket, proving
that the prediction written in “red” is
correct.
 FREDERICA’S

0 EFFECT:
“CARDOLEASE”
H E R E IS ANOTHER clever card trick
from friend Frederica which is simple
to perform yet is strong ineffect.It cer-
tainly creates a favourable impression on
an audience as a trial will prove.

A pack of cards is shuffledby a spectatbr

l
(3) A set of pocket index and a large
handkerchief or other suitable cover.

who then selects any three cards. The 0 PREPARATION:

performer hands him a long piece of ribbon
Place the pierced cards in the indexed
with a steel bodkin attached to one end,
and tellshim to pierce the three chosen containers in the usual manner and place
cards through the centre and thread them both containers in the right trouser pocket.
on to the ribbon, with a few inches between The other pack of cards is on the table, to-
each. The ends of the ribbon are taken gether with the ribbon and the handker-
by two spectators, then the cards are cover- chief.
ed with a large handkerchief. T h e spec-
tator who selected the cards, is asked to ROUTINE:
name any one card of the three on the rib-
Have a spectator come forward to assist
bon. Whenthe cardis named, the per-
YOU and hand him the pack of cards for
former reaches under the handkerchief and
shuffling,then ask him to look through the
withdraws the chosen card which is seen pack and remove any three cards. When
to be whole, except for the centre where
he has done this, take the remainder of the
the bodkin has pierced it. In other words,
pack and placeit on the table.Pick up
the card has penetrated the ribbon. The
the ribbon and the bodkin and hand them to
handkerchief is removed leaving the other
the spectator, asking him to thread the
two cards still strung thereon-verything
cards on to the ribbon. Whilst he is doing
can be examined. this, ask another spectator to come forward
to assist him. When the cards have been
0 REQUIREMENTS : threaded, have each assistant hold an end
( 1 ) A piece of brightly coloured rib- of the ribbon to stretch it between them.
bon about five feet long and three-quarters
Stand behind the ribbon andseparate
of an inch wide, with a metal bodkin at-
the cards so that there is a space of a few
tached to oneend.
inches between each. As you are separ-
(2) An ordinary pack of cards plus ating them, note each card and remember
a matching pack which has every card its position on the ribbon. Just remember
pierced in the centre by the bodkin. the numbers not the suit, unless of course,

1 09
there are two or three similar values. Take
the handkerchief and cover the cards,
allowing the material to drape well down
on each side of the ribbon. Place your
hand casually in your pocket as you recap
onwhat has happened so far.Askthe
person who selected the cards to name the
one he likesbest and when hedoes so,
secretly remove that particular card from
the index and palm it in your hand. Reach
under the handkerchief with both hands.
Go to thecard you know is the selected one
and tear it from the edge tothe centre.
Slip the card off the ribbon and tuck it out
of sight intothe left sleeve. Bring the
palmed card wellto thefinger tips and take
the hand from under the handkerchief to
show its face. Whip the handkerchief
from the ribbon revealing the two remain-
ing cards still strung in position.
The card which has supposedly come
from the ribbon should be well examined
or given away. The card in the sleeve can
be disposed of later.
Obviously, you can use up a lot of cards
if you perform this trick often, but even if
an incomplete pack is used, the trick does
not lose any of its effectiveness.

FROM DURBAN. S. A. suitable tricks. On the other hand, if you

A SUBSCRIBER WRITES .... “I have
-.
do it mostly for fun . . then do as I did when
been reading and re-readmg your I was a “buyer” instead of a “seller” . . P
articles in The Gen. The tips and hints got the lot . . and had the time of my life!
are worth their weight in gold, the bits of
advice are priceless. They have helped IT’S TERRIBLY
DIFFICULT
me enormously”. for anyone fairly new to magic, to try and
“sort it out” from the hundreds of books
Have been getting plenty of similar let- and tricks that are available . . it’s almost
ters to above . . it gives me great pleasure . . as hard for the “old hand” too!
also the requests for more detailed advice.
A popular query is - - THAT’S
WHERE I CAN HELP
for during my long magical life, I’ve been
“CANYOU
SUGGEST through most of the“phases”.First, I
some good tricks to make up a program- was the “purist” . . everything had to be
My usual reply is, of course I examinable” . . no “fake cards” or any-
‘1 6‘
me?”.
can, but I can be more helpful if you will thing caddish like that . . the apparatus had
give me an idea of the sortof chap you are, to be “natural-looking” . . no magical props
and under what conditions the tricks are for me! Then I thoughtthat this must
likely to be performed’. To give com- have looked pretty dull . . so I went in for a
plete satisfaction onemustknow if the Chinese act . . all dressy and showy. The
performer is a jollyor serious type . . a next “ambition” was to start with an empty
good talker or otherwise . . whether the stage . . produce, magically, all my tricks
tricks are for close-up . . drawing room . . and finish up with astage full! Then, I
Hall or cabaret (where the audience sur- tried a “singing-magical act” . . followed
“
rounds the performer, and a good propor- by a smart-patter-chatter” show, with a
tion of them being more interested in their piece of rope and funny gags and stories.
girl friend than in magic). These are only Then, in contrast, I found myselfback
a few of the things that must be considered again with the boxes, silks, flowers and kid-
before getting down to the job of selecting dies tricks.

110
 I suppose mostchaps seriously interested
in magic, go through this sort of thing over
the years. One finally rea!ises that each
‘L
phase” has something to offer and
you end up with a fairly good idea of the
stuff most suited to your own personality.
To help chaps get to this “final stage”,
fairly quickly, and economically, is some-
thing perhaps in which my “experience”
can be useful. Here is my idea of what a
normal audience at the usual run of shows
likes to
SEE FROM A MAGICIAN
A “likeable” personality (one’s self . .
not an imitation of someoneelse) using
‘ L
bon . . “Wham!” . . They see the words
“Good Night” or “The End” . . Even the
dumbest cluck knows you’ve concluded
your performance and with the bannerbe-
ing heldin theoutstretchedarms,they
know it’s the cue forapplause.
ONE LAST THING
I mustmention. Make sureyour pro-
gramme includes at least one item which
gives the appearance of manipulative skill
. . even if you know that it really isn’t as
difficult to do as it looks ! They are more
inclined to believe you are a real magician
if you can do something with your
“hands”. I am reminded of this by

reasonably magical - looking” things, ANOTHER MEMORY

neither too garish or ordinary-looking. Many years ago, there was a magician
Magic tables (not any old thing borrowed who hit the high spots in magical circles
on the spot) . . Colourful apparatus and witha colourful Illusion show. He later
accessories. Interesting
straight-to-the- “graduated” to the Music Halls . . played
point tricks, put over with a minimum of the “smalls” and did reasonably well . . but
fussand “waffle”. They don’twant to he just couldn’t get on to thebig-time tour.
“
think” too much (they’ve too many Oneday,bemoaning his fateto me,he
troubles of their own to like being “enter- said that hewas sure it was because “some-
tained”byhaving to work hard at any one had it in for him”.
weighty magical problem you may put be- I approached Miss Cissie Williams, the
fore them. They also like to know chief booker for the important Moss Em-
exactly when you finish (so that they can pire Tour and asked her why she didn’t
give you applause, if you deserve it). book this chap. “He has a nice clean
LOTS OF GOOD TRICKS show”, .I said . .
“
what’s wrong?”. “Harry
‘4 she replied, to mehe’s nota magician.
end in sort
a of anti-climax”. Take He’s got lots of Cabinets and Boxes . .
the “Substitution Trunk”for instance. plenty of bangs and flashes and well-dress-
This is an audience-stunner if ever there ed assistants . . but he does nothing him-
is one. But, for an audience, the trick is self”. If he’d only do a bit of Billiard Ball
overthemomenttheyseethe speedy stuff like Cecil Lyle (who was then touring
change from one person to another . . at with a big show) . . or something clever 4‘

this point the applauseis generally thunder- looking” like that, I might book him. As
ous. The subsequent undoing of the it is, he gives me the impression that he’s
trunk, sack, shackles and locks . . with final just a good shop-keeper displaying tricks!”
“
examination” to “prove”they are still Think that one over . . I did . . it was a
‘L.
intact” can easily lead to an awful anti- great “lesson tome . . it should be for
9,

climax. Once a“Wham” is over, the you, too!

audience quickly loses interest . . especially
these days ! SECRETS
seem “ten-a-penny” these days. Recently
LET THEM KNOW YOU’VE FINISHED a “commercial” firm published yet another
“
is must” advice. A good example of of the classics of magic. More and more
what I mean is the old “Good-Night-Ban- of these works are getting into the book-
ner”. A blank cloth, a few pieces of rib- shops tothe general public. It should

111
make us all get up on ourtoes and work a societies and groups inspired several new
little harder, so that we are that little bit bookings. If you have any ideas about
betterthanthenextman.Perhaps this this for your locality . . don’t leave it too
Popularising of magic” will give us lots late and get disappointed . . Be Wise and
‘ I

more folk to fool . . for remember, those PLAN AHEAD . . SOON!

with a little knowledge, are the easiest to
fool with magic! MORE RECOMMENDED BOOKS.
As promised, here are the additions to
TIMES HAVE CHANGED my “List of Books you must Possess”.
Secrets are not guarded as jealously as
theywere in myday. I remember how Lang Neil’s “ModernConjuror” ....
careful were theold stage performers with Sach’s “Sleight of Hand” . . . Caultier’s
their secrets. I have a memory of an oc- “Magic withoutApparatus” . . Kaplan’s
casion we played the Chiswick Empire and “Fine Art of Magic” . . Dr. Dhotel’s “Magic
was thrilled to read in the “calls” that the With Small Apparatus” and Thompson’s
great OKITO (Theo Bamberg) was on the “My Best”. All are “worth-while”and
same bill. After band-call on the Monday a “must” for your “personal library”.
morning, the stage was cleared as Okito
had to get his show fixed up. At the even- STEVENAGE HOBBYSHOP
ing performance it was the same story . . A couple of years ago, I opened a shop
nobody was allowed “side-stage”. I had in Stevenage NewTown, just off the main
tosneak out“front”tosee his show. I north road, about 30 miles from London.
later played with The0 on the samebill at A1 Koran and Francis Whiteperformed the
openingceremony” . . quitea magical
‘4

ShepherdsBush and HackneyEmpires

also the ManchesterHippodrome . . and occasion! We are the main agents for all
during these weeks became very friendly the best makes of Model Trains .. Motor
with him . . but I never got to seehis show Cars .. Aeroplanes and Boats and carry
“fromtheside”. I am surethat I, our very big stocks, as also we do of Fishing
.
fellow-artistes and stage staffs, held him Rods and Tackle. Guns and Sports Goods
and his magic, in greater respect, because also a tremendous range of Plastic do-it-
of the “veil of mystery” he maintained . . yourself Craft Kits . . It’s a real HOBBY-
more so than if we’d been allowed to wand- SHOP . . a delight for all men up to the
er around willy-nilly, poking ournoses into age of eight and boys up totheageof
his show, back-stage. eighty! Frequent visitor is MingChow
(Bertram Otto) who by the way, has the
BINDING GENS. largest model-railway layout in the world
Chaps keep writing to ask whether we on permanent summer display at the
still bind GEN’S . . I usually advertise this Winter Gardens,
Eastbourne.
David
at the end of each volume, but I slipped Nixon (who is a great Model railway en-
up this time and many think wediscontin- thusiast) is doing a Summer Season
ued this service. Well, we haven’t . . S O in Eastbourne, and is having a wonderful
if you want your Gen’s bound in a nice time with Bertie’s Trains ! I fixed up both
heavyCloth with Gold Lettering on the A1 Koran and Billy McComb with trainsets
spine . . bung them along witha remittance . . s o if YOU want a present for your Son,
of I I /6d. ( IO/- for the binding and 1 /6d. Nephew (or self, if you’re young in heart)
postage) . . I guarantee that you’ll be high- . . don’t forget theold firm . . just write me
ly satisfied with the result. here (Unique Studio) andI’ll be pleased to
FILM HIRE fix you up!
My note in The Gen a couple of months
ago announcing thatgood magic film pro-
All the best,
grammes were available for HIRE to local HARRY.
112
 “ N O T E TO M A T C H E S ”
At your finger-tips, you hold a treasury note. You
say . . “I used to light cigarettes with these . .now I use
Matches”. Suddenly you’re holding a packet of mat-
ches. Showing them back andfront, you open the
packet, take out match and strike it ! ! ! Easy to Do . .
no sleights .. a real Eye-Popper for the Pocket.

Price - 5/-
-

S p 0T S T I C K S - R. M. Jamison
- ONE OF THE ‘GREATESTOF ALL POCKET TRICKS -
Two smallplasticsticks . . oneWhite,oneBlue, from which
spots appear - Vanish and Jump from one to the other.
EASY TO DO .
. .
I t will soon become ONE OF YOUR FAVOURITES
Complete with FULL instructions and TWO routines, one by the
inventor and the other by Ken Brooke.

Price S/- U.S.A. $1.OO.

TERRIFIC‘ VALUE!

TRICKS and MORE

TRICKS
of the
TELEVISION STARS
~ A GREAT COLLECTION of almost a HUNDRED TRICKS-STUNTS and
~ GAGS for the POCKET.

Routines with Coins - Cards - Cigarettes - String - Paper - Dice -

Matches - Cups and Balls - Tom and Restored Cigarette Paper (shown with
great success on T.V. recently) - Mental and Novelty Tricks - Bar Stunts,
Gags and “Teasers”.

Well Printed 96 pages . . and Illustrated by nearly One Hundred and Fifty
Photographs and Line Drawings.

Price S/- U.S.A. $1.00.

1 l3
Ii.

E N C Y C L O P E D I A of
CARDTRICKS
(JEAN
HUCARD)
THE BIG BOOK ON THE NON-SLEIGHT OF HAND CARD TRICKS
TwentyChapters devoted t o cardtricksdependent upon subtleties,
ingenious dodges, novel ideasandnaturalmisdirection,ratherthan
sleight of hand.
Chapters on Impromptu tricks, Arranged Decks, Spelling Routines,
110 A s I Do, KeyCards, Slick Cards,andmanyothers. A wonderful
reference book. Includesthe completeNikoln CardSystem.
415 Pages.Severalhundredt,ricks.Ilhstrated,cloth bound.

Price - 30/-
“ W I N D O WS T O P P E R S ”
U.F. Grant. A printed book containing a collection of magical window dis-
plays which you can use to advertise your show. Many are non-mechanical
so costs are low. Others use clever mechanical devices to create various amaz-
ing displays. These ideas can be put out as a side-line, rented to shops etc., to
advertise products. Great possibilities with this. Price 14/- -
“ I L L U S I O NS E C R E T S ”
U. F. Grant. New EnlargedEdition. 24 great illusions Fully Explained.
Big Value for only - 21
~~
/-. ~

E.S.P. H A N D B O O K A N D W O R K S H O P K I T
. . A very useful
Printed book with good tricks. Complete with E.S.P. Cards
outfit for the mentalist. Price 21/- -
“ M I N I A T U R EH A U N T E DH O U S E ”
’ The GreatLeon. A complete act described in most detailed way . . . Fully
illustrated “build-it-yourself” plan . . several brilliant effects, patter and presen-
tation, plus many action photographs. Act can run 30 minutes (if desired).
No assistants required. Sets up in a few minutes . . perform anywhere . . work
on table . . packs flat. Spookyand unbelievable. Original price of this act
was nearly 21 00 ($298.00.). Complete in a large 34 page printed book.
Price - 35/-

BY FRANCES IRELAND MARSHALL

KID STUFF Volume 2
KidStuffVolume One has almost sold through its second printing-claimqd by all a s a treasure
house of material for children’s performers. KID STUFFVOLUME I1 is a worthy sequel. Loaded
with audience-tested tricks, routines, patter,
ideas,
suggestions. Feulures : ”Mickey Mouse’s
Magic Shop” byBobLotz. A completely routined show for kids, using standard apparatus-com-
p l e t e w e n to how the equipment is packed. Tailor-made for any magician to just go ahead End
use. This is the famous aci performed by BobLotz for years in Chicago, when he was the highest
paid kiddie’s entertainer in the country. He left this lucrative field only for a betterpaid one-
insurance, in which he is now most successful.
“The Railroad Trip“ byCapt. Louis N. Bertol. Another complete show for kids this time with
allthe wonders,,of a journey, including having their tickets punched -
Magic in a newguise
very, special ! The Magic Laundry”,by Bruce Posgate,Canada‘s famous Uncle Bruce, children’s
magician. A screammgly funny act In whlch the “decorations” for the party fall down and have
to be ”washed“. The complications are wonderful ! He got roars with it at Buffalo. Complete in
this book.
MaterialbyJohnnyGiordmaine, Tommy Windsor, Joe Palen, PLUS a section on patter for kids on standard tricks
byFrancesIrelandMarshall,andotherthings. A “must” for all who work for kids-or hope to.

Price - 2 /-
1

114
I 0 OUTSTANDING
SUCCESS !

“FANTASTIC FORCE”
HARRY NICHOLLS
A SURE-FIRE-MECHANICAL-FORCE ofFOUR
FIGURES, etc., etc.
The apparatus consists of a neat stand, just over 12 inches
long . . thecentre display-section of which ismade of
Perspex . . allowing a clearview right through. Cards, each
bearing a single figure, are freely displayed and well mixed
. . then from their number, Four are taken at random and
placed in the stand, backs towards the audience.

I Now . . and Completely under the direction of Members of the Audience . . the cards are Moved
from dace to dace. . changed around as manv times as thev like . . makine it obvious that the fimres
known in advance . . YET . . unbeknown tocthern
~~~~~ ~

NOW . . wha.t can we do withthis marvellous “force”? Dozens of things . . and our instructions
give you manytricks . . routinesandideas.Forinstance, you can do aterrific Book Test. You can
show, say, a Dozen unprepared Books . . have them in a pile, or lay them out in a line. Do the “force”
. . say the final number is as in the illustration above . . 3 - 1 - 7 - 2 . . t h e “3” can represent the
3rd book in the row (or pile) the second two figures “17” can represent the number of the page . . and
the final “2” represents the line on that page. What could be fairer than that . . yet you can reel off
the line as easy as falling off a log!
You candothesamesort of thing with UnpreparedNewpapers. It’s QUITE EASY TODO with
BORROWEDbooks or papers.
Youwill say that this apparatus is one of the cleverest things you have ever seen . . . it’s working
is MECHANICAL and a joy to use.
Complete withFullInstructions . . Tricks . . Routines and Ideas.

I Price SS/- U.S.A. $1 1.OO.

I KEN BROOKEPRESENTS - -

“ THE WINNING WAGER ”

byGEORGEG. KAPLAN
A Sensational Effect with Jumbo Cards in which magician has
Five cards Freely Chosen, which he placesbacks outward on a
stand. He THEN writes something on a slate or board, and leaves
i t in full view of the audience.
He hands a oE6 note t o a spectator t o hold and wagers the S 5 t o
nothing that he has written the name of a card which the spectator
will shortly choose from the five. If he fails, he states definitely that the holder of the C5 may keep it.
The choice is made . . it is an en,tirely Free Choice. . he can pick any one of the five cards o n display.
THE OTHER four cards are then shown to be All Different . . nevertheless . . the magician is correct!
A BRILLIANT ROUTINE ..COMPLETE with PATTER . . No sleight of hand . . cards are un-
faked. Ideal for Stage . . Platform or DrawingRoom.
Complete with Jumbo Cards and splendid apparatus comprising of a veryuseful Stand and Hou-
lette, both of which can be used for other effects. ‘HIGHLYRECOMMENDED.

Price 55/- U.S.A. $1 1.OO.

 N E W ?

UNIQUE
GHOST TUBE
BOTANIA
A LARGEMETALTUBEis shown clearlyEMPTY.hlagiciau
place- a piece of Tissue Paper over one end and fixes it into position
withametalRing.Another piece of TissueandRing i s similarly
[)laced over the other end.
Magician non- breaks the Tissue a t one end and produces a lovely
assorbmeat of Flags . . Silks . . Flowers . . Streamersetc.,etc.
Breaking the Tissue at the other end . . he produces a further load
of Silks,etc.This alone makes a Magnificent Show . . BUT THIS
IS NOT ALL for he now places the Tube into a Flower Pot . . then
liftingtheTube . there . . in thepot . . i s aGiganticBunch of FLOWERS (Feather) . . A MOST
SPECTACULARSIGHT. To a n audience i t would seem impossible t h a t such a hugebouquet could
be concealed in such a small tube . . particularly in view of the fact that the magician had just pre-
viously produced a huge load of Silks etc., from the SAME tube.
THIS NEW UNIQUE GHOST TUBE BOTANIA makes a GRAND FINALE the audience will remem-
ber.
The apparatusincorporates a new mechanical feature which enablestrick to be donequickly and
neatly without fumbling , . a lovely job!
Can be performed RIGHT AWAY!
No silks, etc. are supplied for the initial Ghost Tube production . . but of course the Botania is COM-
PLETE with the lovely Flowers.

Price S1O/ lo/- U S A . $42.00.

GOOD ROUTININGDEPENDS on t h e clean “linkingtogether” of varioustricks.I’llgive ~ O L arl

I

example. We have a very good . . very easy to do

NEW S I L K
l
1
!I
l1

T O FLOWER trick by RAVELLE & ANDREE

l1

l
i n which a Silk n~agically Changes into a nice-looking Flower, which you
can then putinto your Button-Hole. A very neat and effective spot of magic.
Talking this over withDuggy Francis here,hesuggested t h a t we could
incorporate his clever “Match to Flower” so that magician can first strike
a match . . and the LIGHTED MATCW instantly changes t o a FLOWER,
which in turn, instantly changes to a Silk, which can then be used for a
trick which follows . . a nice flowing series of magical SURPRISES.
Now we supply the FLOWER . . SILK and INSTRUCTIONS for perform-
ing BOTH the above effects ..
so you can do it EITHEIR WAY !

Price 7/6 U.S.A. $1S O .

 t
1 I

'..;l :,:.? Hans

Anderson and Jeanette
 A NEW Fifty-Six pp Printed Book . . Illustrated with plenty of Photographs and Line Drawings. A
great collection of Tricks - Stunts - “ Bits of Bushess” . . . including - - -
VISIBLE SILK PENETRATIONS - VISIBLE TYING and UNTYING SILKS - CARD and CIC-
ARETTE RSINC - and Manv other Tricks w i t h Roues - Treasurv Notes - Cards anti Silks.
REELlSTlC MAGIC opens 11; for you a tremenclok field o f Intereiting and Exciting mag:c . . t h a t ’ s
Easy to D o . . But WONDERFULLY EFFECTIVE!

Ill Price 7/6 U.S.A. $1.50.

THE UNIQUEREELFAMILY --
Controlled Finger Reel
(Number 1 in Illustration)
Easily Concealed intheHand . . only an i r d l in
diameter, its finger clip makes for comfortable hand-
ling. The thumb brake responds to the most delicate
pressure and ensures perfect control fromslow t o fast.
Nylonbraided thread is used . . nearly Pour feet-
that’s plenty for most purposes-Silent and sure i n
action . . this baby is a honey !
U.S.A. $4.00. Price f l .

* Controlled Finger Reel - - -

(Number 2 in Illustration)
with Safety Pin Attached
-

Ill Price f l . USA. $4.00.

(Number 3 in Illustration)
Super
- locking- Reel
Acknowledged t o be the world’s finest. Strong, Silent Action. Several feet of Nylon thread
available for use . . and . . this is the important feature . . it can be Locked in Any Position
this is with a few inches out or the full extent . . or any distance in between. A touch, and
thread flies back to its originalposition.Slightpressure on theReelitselfcontrolsthe
speed . . fast o r slow . . just as you wish. The Last word in Reel Perfection ! !
Price 35/- USA. $7.00.

* Wrist Reel
(Number 4 in Illustration)

I n this case the Reel is worn on the wrist-like a watch. The Nylon braided thread is con-
trolled by t h e fingers. m i s Reel has the advantage of leaving the hands free before and
after rise. Size l$ inchesindiameter . . approximately seven feet of thread.Works as
smooth as silk . . “ A Reel Beauty ! ”.
Price 30/- U.S.A. $6.00.

a Twin-Reel - 2 “finger”sizeReels
are joined together
side by side.
..
Thc
Nylon thread ineach can beeasilywithdrawnto-
getherto run side by side about one inch apart . .
thns providing a secret “snpport” for cards ribbon-
spread between thehands . . A mostastonishing
sight ! A ball can also be made to travel a couple of
feet i n mid-air
between the hands. Many other
rsc~ellent Visual effects are possible.
Price f2. U.S.A. $8.00.
_-
 HANS ANDERSON-certainly a magical sounding name for
theperformerwith magic hands who graces our cover this
month. Born in Holland, Hans’ first introduction to the profes-
sional stage was a t t h e a g e of fourteen when, a s a memberof
an acrobatic troupe, he toured theCont,inent, America and India.
This experience was to prove a valuable asset when he finally
decided t o branchout on his own.
During the war, Hans joined theDutchNavyandhisship
was torpedoed intheEnglishChannel. H e was rescued and
taken $0 hospital in Edgwares, Middlesex. On leaving hospital, with the advice t o take things easy, he took a
walk round Wool~orth~s Store and boughta few jokes and tricks. H e also found a copy of Hoffmann’s “Mod-
ern Magic” on a bookstall and although he could not read English, the illustrations were sufficiently interesting
and informative for him t o piece together some of the se-rets. A young friend told him about “a Magic Shop in
Oxford Street” (Davenports), which he visited and came away with the AI Baker “Torn & Restored Newspaper”,
Razor Blades and a rope trick- Hans practised for a couple of months then presented himself for an audition
at t h e Granville, Waltham Green. H e was booked to appear there the following week when an agent saw his
act and put him into a Revue which toured for six months. Later he joined the late Cecil Lyle as an assistant
for his Season a t the Aldwych Theatre. Then followed variety tours and concerts, playing most of t h e “halls” in
the country plus night spots in town, the Continent and the Middle East.
Now assisted by his charming wife Jeanette, the act is typical of the hard working professionals, whose task
has been made all that much more difficult by the closing of S O many Music Halls . . but as Hans says: “We
still plod around and are luckier than most--starving b u t enjoying it,!” . . a real pro.!
The act is purelymanipulative,cigarettes,cards, flowers and now doves-but with t h a t originalinventive-
ness which makes it different from the others.
‘ToHans and Jeanette we raise the Gen Glass high and wish them Health, Happiness and continued success.
In the June GEN, our good friend Rink contributed “The Adventure of the Final Problem and the Empty
House”. In editing I did a spot of cutting to get it all in and the reason for the title was omitted. Only keen
devotees of Sherlock Holmes may have spotted the connection, as it is the joined titles of two of Sir Arthur
Conan Doyle’s famous short stories-one relating t o t h e supposed death of Sherlock Holmes (vanish of Ace of
Spades) and the other concerning the unexpected return of the great detective from the dead (reappearance
of the Ace of Spades)-that’s another mystery clmred up!
From Cyril Fanaroff in Johannesburg, South Africa, comes a nice letter of appreciation of Gen Material-and
he asks a question about three promises of mine which have not yet materialised. The main one is a Malini book
-well itgotstartedthenboth Faucett Ross and Dai Vernon gottogetherandspent weeks recording
all the detailed work that Dai has put into Malini material over the years. Jay Marshall went t o Australia
andvisited Edwin A. Dearn ( B very close friend of Malini), who has a large collection of photographs.At
Jay’s suggestion, a letter went to Mr. Dearn asking permission to use it . . this he gladly gave. The other two
promises are concerning t h e publication of two tricks-a routine with two cigars and L‘t h e Dancing Cork”-
will catchup on thesebeforelong, Cyril--thanks for reminding me.
’till next month,
LEWIS GANSON.

CONTRNTS - - - - - -
From the Cen Desk - Lewis Canson ............ l19 Lewis Ganson Explains -
“Power of Imagination” - Hubert Lambert...... 120 Frederica’s “Spiritune” . . . . . . . . . . . . . . . . . 130
A Book Test - Tony Griffith . . . . . . . . . . . . . . . . . . 121 Newspaper Advertisements Production -
“Pass The Salt” - Ken Brooke ............ 123 Harry Stanley ........................ 132
Quick as Lightning - Rink . . . . . . . . . . . . . . . . . . 125
Candy Cascade -
Douglas Francis . . . . . . . . . . . . 134
Penny to Half-crown - Tom sellers . . . . . . . . . . . . 126
Re-Assembled Night Club -
Movement for the Magician - James Dodding 127 Ken de Courcy . . . . . . . . . . . . . . . . . . . . . . . . 135
The Travelling Spots -
Tom Sellers ............ 129 Review - Harry Stanley . . . . . . . . . . . . . . . . . . . . . . . . 137
-
THE GEN is published on the 10th of each month by HARRY STANLEY, 14, Frith Street, London, W . l . -
Single Copies: 2/6: Twelve months
subscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription $4.00.
Fditor : LEWIS GANSON. Editor Art PA”EN.
: DENNIS
@ HARRYSTANLEY 1961. Contributionsare only accepted on theterms that the copyright belongs t o
Harry Stanley.

1 l9
our ken so long ago that the source eludes us, save
that it must havebeen in an old magazine.
It is this latter that we nowplace before concentrate, and at the second you have
you, and you will be fascinated by it, for him doing this hardest . . . the glass of
its “visible” magic ! water visibly changes to a stronger drink,
Selecting a spectator whohas, your acute milk !
intuition tells you, a super-abundant gift Cemented into the jug, which is a
of imagination, a test to prove your point “decorated” one, is tumbler.
a In the
is suggested. tumbler is a mixture of one teaspoonful of
spirits of salts and ditto of water. In the
jug proper is a solutionmade by dissolving
five dessertspoonfuls of photographic hypo
in a pint of water.
When the jug’s contents are poured into
the glass and handed to the spectator, it
will change suddenly into “milk” in about
thirty seconds.
You have timed your patterso that after
thirty seconds you are saying toMr. Imag-
ination, . . NOW. . THINK. . HARD. .
“

From a glass jug, a tumbler is filled and
handedtohim. Backing awayfrom him
till you are well apart, he is exhorted to
“.
Imagine” as hard as he can that the glass
of water is a “strongerdrink”. You are
6‘
making passes” at him, as if helping him
CONCENTRATE”.
On oneof these words the change should
take place, so naturally you stop there,and
it willseem that the miracle occurred at
the precise second you and the spectator
“willed” it.

1 20
 (FOR WANT OF A BETTER NAME)

TONY CRlFFlTl

The magician holds a book in his hand and turning to the

spectator helping him, speaks as follows . . . “If I were to ask
you to take this book, to open it at anypage you wish and to
.
think of a word on that Dage. and immediately I told you what
U -

that word would be, to you it would appear

pretty startling. In fact it would seem next card and without looking at it place it
that I would have read your mind. How- in your right coat pocket. Good. Final-
ever, clever though this would be, most of ly take the next card and place it in your
the people watching would be very sceptic- top breast pocket. Pleaseplace the pack
al of the whole thing and would probably face downwards on thatchair so that I can-
believe you to be a stooge or confederate. not possibly get a glimpse of any of the
Because of this, I am going to ask you to cards. Thank you . . (Magician turnsto
select a word in this book completely by audience). Ladies and Gentlemen. This
chance, in a way that neither you nor I can gentleman hasselected three cards in a
have any control. Please take the book . . manner which was purely by chance.
thank you. Here is a pack of fifty-two I don’t know what those cards are
cards. I want you to take them, place and I think youwill agree that he could
them behind your back and give them a have taken any three cards from the pack
simple cut . . . You have done that? Good! . . (Magician turns back to spectator) . .
Now cut them again, still keeping them you have three cards. One in each of
behind your back, and carry on cutting your jacket pockets and one in your breast
them until you are satisfied. (He carries pocket. These three cards are going to
on cuttingand eventually stops.) Now be used to select the page and the word in
sir, I am going to giveyou a chance to your book.
change your mind, and to cut the cards for
the last time. While I count four, please First of all the page. Please select two
decide inyour own mind as to whether you of the cards, the left coat pocket, the right
wish to change your mind. Don’t decide coat pocket or the breast pocket, whichever
now, wait until I have counted four . . One you prefer. You will have the two jacket
. . Two . . Three . . Four . . What is your pockets.You don’t wish to change your
decision? You will cut them again. mind? You can if you wish.
You’re
Good, will you do so. Nowstill keep satisfied? Good. Take those two cards
the cards behind your back. Take the out, making sure that I nor anyone else sees
first card and place it in your left coat pock- them. Those two cards will determine the
et. Don’t look at it and please make sure page. If for example, they are a four and
that no one at all sees it. Now take the a seven it will be forty-seven or seventy-

121
 four, whichever you decide. You have
made your decision. Right, open the book
at that page. Now take out the card from
your breast pocket and that card will now
decide the position of the word. If it is an
eight it will be the eighth word from the
top. Please think of that word and close
the book. Sir, you have selected a word
purelyby chance. I had no influence at
all. Here is a small blackboard and a
piece of chalk. In a few moments I will
hold the board between us, and onmy
word of command, I want you to write
your selected word, plainly and as quickly
as possible. (The board isheld between
the magician and the spectator with their
sides to the audience so they can see every-
thingthat happens, as ithappens.)Are
you ready? Write!
(Here
the magi-
cian and the spectator both write as fast as
they can on each side of the board. Time
it so that the magician finishes just before
the
spectator..)
Haven't you
finished
yet? . . Oh, now you have . . I beat you to
it . . Ladies and gentlemen the word select-
ed by chance by this gentleman was
HOUSE. Believe it or notmyword is
also HOUSE !
a Method:
Please do not throw the book at me when
I tell you that a three way forcing pack is
used. I have worked this trick for a very
long time and it always goes down great.
I have tried to get away from the accepted
method of adding the values of cards to-
gether. A very goodpsychological point
is that the choice of cards appear fair. A
very big impression is made on the audi-
ence because ;
a-You do not touch the cards at all
after giving them to the spectator.
&You never see the faces of any of
the cards.
c-The spectator never tells you any-
thing, in fact he hardly speaks.
First of all select a book with about 120
pages or so. Also use three cards that
contrast in values. I use the nine of Dia-
monds, Six of Clubs and the two of Hearts.
The cards are set 9D, 6C, 2H, 9D, 6C, 2H,
Repeated. Using these three cards you
will find there are only six different com-
binations which are as follows. These are
committed to memory.
The second word on page 96.
The second word on page 69.
The ninth word on page 62.
The ninth word on page 26.
The sixth word onpage 92.
The sixth word onpage 29.
To know which word hehas chosen you
proceed as follows. On page 26 use a
short word and on page 29 a much longer
word.
On page 96 use a short word and on
page 92 a much longer word.
A quick glance through a couple of dif-
ferent books will soon find the right ones
to use.
 You will always be able to tell that he
is looking at pages 26 or 29 by a quick
glance towards him. Page 26 will be on
the left hand side of the book near the be-
ginning and page 29 on the right. Pages
92 and 96 will be on the left hand side of
the book towardsthe end of the book.
When you have established as to whether
he has chosen either 26 and 29 or 92 and
96 you proceed as follows. When you
are about to begin to write on the black
board remark to him as to whether his
word is a short one or a long one. The
excuse being that you wish to make sure
that you want tohave enough room on the
slate. Depending on his answer you now
know the word and page.
You will beable to spotpages 62 and 69
quite easily. Page 62 will be on the left
hand side of the book in the middle. Page
69 will be on theright handside of the book
% in the middle.
I. EFFECT:
Salt passes from one hand to the other.
REQUIREMENTS :
One salt shaker (from Woolworths).
One Glass Tube (from chemist). -4piece
of Adhesive Tape.
Remarks:
The onething in the whole trick to make
sure of is when he has finished cutting the
cards, make sure that he does not glimpse
the bottom card as he is putting them on
the chair.
Experienced performers will see why
thethreeway deckwill be so strong.
Those who have not been performing for
very long will no doubt question the use
of a three way deck. Please take my word
that it is one-hundred per cent certain, ex-
cept of course, if the performer drops the
cards. There is no need to try to show the
cards to be all different. To my mind this
would be telling him in a way that some-
thing is wrong. The very boldness of the
handling of the cards is a strong feature.
You can of course use as many books as
you wish.
BY KEN BROOKE
I. TO PREPARE:
Fill the tube with salt. Removethe top
from the shaker and pour the contents of
the tube into the shaker itself. Nowadd
a further supply of salt to the shaker-not
too much as this extra quantity is only used
for misdirection for the "steal" of the tube
in the working. Replace the top on the
123
 or in right pocket. Show right hand empty
and then take the shaker in right hand, as
this is done the left hand forms into a fist
around the tube (Figure2).

Holding the shaker a few inches above

the left hand, proceed to pour salt into the
left hand (actually into tube). When tube
is almost full, pour the extra salt on top of
left fist. Show the shaker empty, toss it
into the air,catch with right hand and drop
it in your pocket at right side.

Now brush away the surplus salt from

top of left fist and as this is being done, in-
sert the tipof the right index finger into the
top of the tube, open the left fingers slightly
andas you do so, bend theright index
finger into the palm of the hand (Figure
3). Stretch out the left hand and appear
to rub the contents of that hand away to
nothing.

Whilst this is being done, you work the

tube off the right index finger into the fist.
Show lefthandempty. Hold theright
about eighteen inches above the left open
palm and pour the salt from the right hand
onto theopen palm.

shaker. Now attach the glass tube to the Offer to show how it is done. Reach
shakerby means of the adhesive. Place into pocket with right hand for shaker, re-
the shaker on the table with the tube to move it, show it empty. Explain that you
the rear and you are all set to perform. have no salt left and the explanation will
have to wait until next time!
0 WORKING:
0 METHOD 2:
Pick up theshakertogetherwiththe
tube in the left hand. Shaker is at finger- This is suitable for all types of work.
tips, tubetowardsthe palm. Make no Tube is in left pocket to start. Shaker can
effort to palm the tube, merely hold it in be in any pocket or onthe table. Show
the hand (Figure 1 ). the shaker and remove cap with left fing-
ers. Dropthecapinleft pocket and as
Right fingers now remove the cap from the hand is removed, obtain the tube. NOW
the shaker and place it down on the table work the trick as above.

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124
 Q U I C K A S LIGHTNING
A-Eff ect :
A long piece of rope doubled in the left hand,is cut
intwo, approximately equal pieces. The rope is
thrown out between the two hands and the rope is
seen restored, with a knot in the centre. The right
hand takes the knot from the rope and throws it in
the audience, but the knot dissolves in thin air.
1 -Preparation:
A piece of rope of about twentyinches is
cemented into a loop, while the cemented
piece is secured with thread. A piece of
elastic with a safety pin at the end,is fast-
ened to the loop (Figure 1 ). The pin is
attached inside the coat at thetop of the left
sleeve near the shoulder. Loop and elastic
are broughtthrough the sleeve and the out-
side end of the loop should now be just in-
side the sleeve CUB.
A long rope (six to eight feet in length)
.has a fake knot in the centre. (The struc-
ture of the knot onthe rope should be clear
from Figures 3 and 4 ) . Whenthe rope
is stretched between the hands, the knot
looks very realistic, even at very close
quarters.
The rope is held as in Figure 5, in which
D is the elastic and A is the loop. B and
C are the ends of the long rope, while the
fake knot is held concealed in the left fist.
The loop should stick out of the left hand
for at least eight inches (important).
2-The Working:
The ends B and C are taken in the right
hand and the double rope is stretched be-
tween the hands, while care should be
taken,that the elastic is not seen. The
rope is now broughtback to theposition of
Figure 5.
The bight A is now cut with a pair of
scissors, with the result that four ends now stick out of the left fist.

125
 The right hand now takeshold of end B the scissors pull it clear of the knot, which
near the left fist, while the left hand hangs is converted into a slipknot.
onto end C, releasing theothertwo
ends. The hands are now moved for- The right hand now strikes down along
wardwithspreadarms. As this happens the rope, until it covers the knot (be care-
the elastic pulls thecutends inside the ful which way you strike, as the knot can
sleeve and the rope is seen hanging from only be upset from onedirection).The
both hands with a knot in the middle. The right hand loosens the knot from the rope
general effect is that the twopieces of rope and closes as if containing the knot. The
have been knottedtogether in mid-air. knot, which is “not”, is then thrown out
The right hand releases its end of the rope, into the audience.
which now hangs from the left hand.
The rope is fully restored.
A pair of scissors is taken out of the
pocket and the ends D and E (Figures 3 Note: I evolved this effect, to use it a t
and 4) are cut away from, andclose to, the the beginning of a rope routine, so from
knot. While cutting away the last piece, hereon use your favourite routine.

PENNY TO HALF-CROWN TOM SELLERS

Effect: A penny is rolled up in a hand- Method: Request a spectatorto hold

kerchief, but when the handkerchief is un- out his open palm, then throw your hand-
rolled, a half-crown is seen instead of the kerchief over his palm, making sure that
penny. one of the diagonal corners lies along his
forearm. Put your hand into your pocket,
Requirements: A penny,a half-crown finger-palm the half-crown and bring the
and yourhandkerchief.Have the penny penny to view. Place the penny onto the
and the half-crown in your right trousers centre of the handkerchief (see Figure 1 ) .
pocket. Fold the hanging corner of the handker-
chief over thepenny,but see thatthe
corner overlaps the corner on the forearm
by at least one inch. Place the fingers
with the half-crown on top of the penny
and using both hands roll up the handker-
chief-the half-crown being rolled up with
it. Keep rolling till the
under
corner
comes to view then stop.

With your right hand, lift the handker-

chief by the centre and lay it over the palm
of your left hand (Figure 2 ) . Grip both
corners with your right hand and lift up-
wards, allowing the handkerchief to unroll.
Whenthepenny is in your left fingers,
bendupthe fingers to conceal thecoin,
then lay the centre of the handkerchief onto
the palm of the spectator. Let your corn-
ers drop and a half-crown will be staring
him in the face!

1 26
 All that follows needs practice and re-
hearsal. These are not “tricks of the
trade” which will be effective only for an
instant, but methods which, with time and
patience, will help a performer to be con-
stantly effective.
I. ENTRANCES:
To anaudience, a performer always rep-
resents that worldof wonder knownas
“theatre”, so whether the performance
takes place in the largest theatre orthe
smallest drawing room, the same general
points apply. It is absolutely necessary to
make a strong and definite start. In this
brief moment the attentionof the audience
has to be captured.
If the performer enters briskly, with pur-
pose and decision, then immediately he has
created a good impression.
‘‘
The best place to enter is from an up-
stage” position if that is at all possible, so
that the audience will see the whole of the
front of the body immediately. By an
upstage position, I mean at theback of the
‘6
performing area” . . either from right or
left. From this position there should be
a strong, firm, clear walk to the centre, the
, performer looking at
the
audience all the
time. It is the eyes that make the contact
and as the performer is greeting his audi-
ence as friends, the friendly thing to do is
to look at them.
The “centre-forward” position of the
performing area (Stage-Down-Centre)
should generally be the main position for
working, as this is the position where all
the audience will be able to see the per-
former all the time. The tables should not
be set centre, but placed to right and/or left
of centre. The performer, keeping his
position at centre, can then work to right
or left. Even if it is not always possible
to carry out these ideas, the principle of the
‘L
centre-position” should always be kept in
mind. The important person always has
the place of honour and theplace of honour
is centre.
Try to workfacing the audience as much
as possible and unless it is absolutely neces-
sary, try not to work in “profile”, for then
some part of the audience will only see the
performer’s back. Remember, if both the
eyes can be seen at the same time, then the
position is satisfactory.
@ STANCE:
Whenthecentre position has been
reached, always keep all movement to a
minimum and aim for a firm, still position,
notstiff, but easy and relaxed. The feet
are important here, for if they are right,
then the rest of the body will be right. It’s
like the foundations of a building-if they
are strong, then the building will be firm.
It is best for the feet to be slightly apart,
possibly with one foot in frontof the other
-in fact, any position which is comfort-
able;is right . . provided that it does not
127
look ungainly. The general weight of the upwardsfrom the top of the head right
body should beover the balls of the feet- down to the feet, breathe, andwalk on.
this helps to keepthe body straight and pre-
vents slouching. This basic standing . 1 ARMS AND HANDS:
position should be practised constantly, un- The arms and hands can be very expres-
til it becomes second nature, and the per- sive and it is possible to express any
formernaturallytakes up this position emotion, feeling or intention, through the
when he is “on stage”. This business of hands, but, as is the case in all movement,
standing still cannot be over-stressed, for if any particular movement or gesture is
nothing is more irritating to an audience
not absolutely essential at any particular
moment, then it shouldbe cut out. When
than the performer who hops from one foot
making a big arm movement, the full arm
to another andtwists and turnsall over the
place, often turning his back on his audi- should be used, and not just the lower part
of the arm from the elbow. We have been
enceto search for some prop. It’sall a
basic question of manners. The performer given arms from the shoulder, so use the
is working to an audience, so he should re-
full arm and not just half of it, in other
words do get the elbows away from the
spect them, face them, stand still and only
side of the body. The performer is “giving
turn away if it is for a definite reason. Of
out’’ all the time, let him give out with his
course, it may be necessary for the per-
body. Try never to cross the body with
former to walk about during his act, but 66
an arm, but always aim to keep an open
eventhen,thereshould be purpose and
line”. By this I mean that if the performer
intention behind every move.
is standing centre and wants to take some-
When standingin this basic position, the thing from a table to his right, then the
rib cage should be lifted, and the arms and right hand and arm shouldbe used for this
hands should hang loosely from the shoul- . . if the leftis used it would have theeffect
ders. The head and neck should be held of turning the body away from the audi-
at aneasy level position on a flexible neck. ence. The “open line” is keeping the front
The exercises at the endof my first article, of the body clear to view. When showing
on Voice, arethesame exercises which props., always be sure that the audience
should be used here. can see what they are meant to see. This
usually means holding the prop. up to the
WALKING: same level as the performer’s shoulders.
When anythingis shown like this, it should
In walking, keep the knees as straight be held still, and sufficient time should be
as possible. This helps to keepthe walk allowed for the audience to “register”what
firm, and rids it of any tendency to become the article is and what the intention of the
unco-ordinated. Keep the feetstraight, performer is.
the body erect, thehead level and not pok-
ing forward. The arms hanging loosely by What to do with hands and arms when
the sides, so relaxed, astoswing easily they are not in use is always a great prob-
when walking. Before
entering, is the lem. The simpleanswer is to let them
momentto deliberately relax.Shakethe hang in their normal “at ease” position by
arms andhands to rid them of any tension, theside of thebody. The arms should
and let every part of the body, including never be folded in front, held on the hips,
thejaw, sag loosely. Take some long or clasped behind. This is unnatural and
deep breaths through the openmouth, and looks untidy.
completely fill thelungs. This helps to . 1 BOWS:
expand thelower ribs, steady the heart and An inclination of the head is all that is
clear thebrain. Then, justbeforeenter- required here. The habit of bending ovel ,
ing, bring the body to agood standing po- clutching onehandroundthe middle, is
sition, feeling as if a cord is lifting the body completely wrong.

1 28
aIf BARRIERS:
at all possible,
willbe of use, but if they are to be of
the performer should lasting use, they should be practised and
not work behind a table. The table is a rehearsed constantly, until they become so
barrier between himself and the audience much partof you as a person, that you can-
and his aim should be always to present not help doing them correctly. Whatever
himself openly, without anybarriers of any happens, do not think about these things
sort. If there is an assistant in the act, the when you are actually performing-that is
assistant should always cross behind the the time when all your attention should be
performer, unless, of course, there is a onwhat you are doing. A s a famous
actor said, “Learn HOW to make all the
“
particular reason for a cross” in front.
. . . . And now, after all this,a final word. gestures and then forget them, but learn
I hope that all the points I have mentioned them first”

T H E TRAVELLING S P O T S TOM SELLERS

e EFFECT: A red spot on a strip of

paper changes places with a blue spot on
another piece of paper. The spots are
made tochange back again to their original
positions.
REQUIREMENTS: Four strips of
’ 0
I i 1
paper the width of your first finger (see
Figure 1 ) . These pieces are now creased
asshown in Figure 2. Two pieces are
now taken and stuck together at one end
as shown in Figure 3. You now stick a
red spot on the centre section of one side
and a blue spot on the centre section of the
other side (see Figure 3 ) . With the two
remaining strips of paper, you make an-
other prepared strip exactly the same as
this. Your other requirement is a couple
of small cardboard icecream tubs.
a PREPARATION: Pleat up each
paper so that you have two flat packets.
Place one in the tub to your left with the
red spot to the front and place the other
one in the tub to your right, with the blue
spot to the front.
a METHOD: Take the paper from the
tub on your left, open out the front three
put it back in the tub with the blue side
tothefront.Younow do exactly the
sections, keeping a grip on each end. Show same with the paper on your right, replac-
a red spot on the centre section. Swing ing it with the red side to the front. You
the paper perpendicular, then place it be- now cause them to change places, opening
tween the first and second fingers of the them out in the above manner to show that
left hand as shown in Figure 4. The back they have done so. By using the above
of the paper maynow be shown to be moves, you may make them change over
blank as the first finger hides the pleats of as often as you like, but twice should be
the other section. Refold the paper and sufficient.

129
 I FREDERICA’S

FOR THE PAST two months, Frederica

originations have been the subject of my
articles-but then I’m a “fan” of Tommy
Frederica and when he sent me the follow-
ing clever novelty, I just had to complete
the “hat trick”.

I’ve badgered him for months to let me

publish this one as news of it has trickled
through the “grapevine” and I’ve been
scared that someone “down south” might
show it around before the Gen seal was
stamped on it.
Tommy confesses that it’s his favourite
effect and when you read all about it then
you will see what a splendid and unusual
routine he has given us.
I. EFFECT:
The performer shows a small fancy box
which he explains is a Magic Musical Box.
Offering to illustrate its magical properties,
he displays about a dozen cards, on each of
whichis printed the name of a different
well-known tune. The cards are mixed
face down and the spectator selects any
one, but only he knows the name of the
selected tune. As the spectator concen-
trates on the name of the tune, the per-
former asks him to switch on the musical
box and the tune played is the one selected!
This in itself is excellent but the knock-out
comes when the spectator opens the box
and finds NOTHING inside-it is just an
empty box. There is no mechanism of
any kind-truly a miracle, a selected tune
from thin air!
Note these facts:-
l I
(a)The music does come from the
box. It can be held to the ear.
(b) The hands are shown to be empty.
(c) It’s easy to do.
(d) The box can be examined.
Has your appetite been whetted suffic-
iently?Then read on.
I. REQUIREMENTS :
( 1 ) A small fancy box-wood, metal
or plastic; preferably one that could be a
musical box. Size about fiveinchesby
three inches by one-and-a-half inches, or
near enough. Fit a little lever to it that
can be moved backwards and forwards.
(2) A dozen or so postcards or visiting
cards with a different tune written orprint-
ed on each. (Obviously, one card must
bear the nameof the tune which the music-
al key chain box will play.)
( 3 ) A musical key Chain. This is a
chain with a tiny musicalbox attached.
The boxis about one-and-three-quarter
inches by one-and-a-quarter inches.
(4) A length of blackelastic.
a PREPARATION:
Remove the actual key chain from the

130
musical box and tie one end of the elastic
to the metal ring on the end of the box.
NOWattach asmall safety pin inside the left
sleeve of yourjacketon the wrist side,
about four or five inches fromthe cuff.
Pass the loose end of the elastic through the
pin, then fasten the end of the elastic to
the top of the left sleeve by means of a
strong safety pin. You now have a “pull”
with a little musical box on the end. When
the jacket is worn, the box will be safely
out of sightaboutthree inches up the
sleeve.
The cards and the visible box are on a
table.
the fancybox towards him (thumb on top
of the box, fingers underneath). Ask him
to push over the little lever; as soon as he
does this, press hard with the thumb and
fingers of the right hand. The result is that
the button on the musical box is pressed
and the music starts to play. The empty
box acts as a soundamplifier and the music
is quite clear. By holding it to the spec-
tator’s ear, he can hear the sound actually
coming from the box.
When the tune has been recognised and
named, ask the spectator what tune he se-
lected-it is the same.

0 ROUTINE :
Standing in front of the table, state that
you have a magic musical box. Lift it
from the table and let a spectator hold it,
but tell him not to touch the little lever.

Take back the box and replace it on the

table then show the cards, pointing out
that each has the name of a different tune
printedon it. As you display thecards,
bring the card with the musical box tune
to the top. Mix up the cards but retain
the top one. Cut the pack and bring the
top card tothecentre, holding abreak.
Offer the cards to the spectator for him to
take one. (Force the required card by the
classic” force if you are adept, butuse any
‘ L

method you prefer.)

Toss -therest bf the cards on to thetable

as you ask the spectator to concentrate on
his selected tune,but not to let anyone
else know it. Turn to the left to pick up
the box from the table and as you do so, it
is the work of a moment to draw the little
musical box from the left sleeve with the
right fingers. Gripthe box intheleft
hand (button of musical box is facing out-
wards) ; now lift the fancy box with the
right hand and place it on the left palm,
over the musical box. Approach the,spec-
tator andask him once more to concentrate
on his tune. Extend the left arm and hold

131
 You will be sure to receive applause at
this point. Reach over with the right
hand and move thelever over; at the same
time, ease off the pressure and the music
will stop. Lift the box from the left hand
and hand it to the spectator-at the same
time, tilt the left hand and release the
musical box which flies safely up the sleeve.
Gesture towards the box in the spec-
tators’ hand, casually showing your own
hands to be empty. Say: “That is indeed
a miracle, no one knows how itis done
because the oldmagician whomade the
box took the secret with him to the Great
Beyond and believe it or not, he also took
the “works” ! Look in the box and you
will see for yourself”. He opens it and, of
course, can explore it to his heart’s content.
tune. They are heldin the recessed bot-
tom then afterthe cards are mixed, the
box is placed on top. When the box is
lifted the extra cards have been added.
3-You are advised NOT to use blank
playing cards. They can be used but you
may be inclined to say:“Takea card”
“
instead of “Select a tune”, and youmix
up the tunes” not “shuffle the cards”.
‘‘
4-This routine isgood as a spiritual-
istic” stunt either serious or comic. If
presented as comedy, say “there’s a spirit
in the box” etc., then at the finish, open the
box and take outaminiature bottle of
whisky saying, “Ah! the spirit!”.

NOTES: 5-The key rings cost around 25,’- each

and if you can afford it, get two, each with
1 -The selected tune card can be mark- a different tune. You may have to do a
ed on the back with pencil dots at the top repeat performance! Additionally, why
left and bottomright corners or preferably, not have one in each sleeve?
just round the corners slightly with scis-
sors. This is a good tip for playing cards 6-If a wooden box is used, the music
because often the pencil dots fade and are sounds louder as the box is opened because
hard to see, whereas a rounded corner is it becomes a “sounding board”-then soft-
always clear to you but invisible to anyone er as it is closed again.
else.
Well, that’s Frederica’sroutine-play
2. If your box has a recessed bottom, around with it and develop your own ideas
you can add extra cards, all having thesame as it’s a real winner.

APPARATUS:
Reinforce a cigarette packet’with pieces
of tin inside and have one endopen-place
a small clip on the back which enables it
to be held between the first and second or
second and third fingers, at the back of the
hand. Small articles maybe loaded into
the packet . . say asilk hanky, nylon stock-
inganda cigarette. Useany sheet of
newspaper.
BY HARRY STANLEY
Have cigarette packet on table, conceal-
ed by paper . . it can easily be picked up
whenever required . . or . . as an Opening
effect . . it may be held behind the hand and
concealed by paper held in the normal way.
I. BASIC MOVE:
This is very easy and after a little prac-
tice can be done smoothly and successfully.
Gimmick isheld behind say, right hand.
Sheet of newpaper (folded in half) is
held between the thumb and first

132
finger of the samehand.Front half of
the paper is allowed to fall. The left hand
passes down the frontof it (as if to smooth
it out). Thumband first finger of left
hand takes hold of the bottom of the sheet
and lifts it up . . now making it the top of
thesheet.Righthand (still holding the
gimmick concealed behind it) now receives
itbetweenthumb and first finger. Left
hand smooths the paper down as before.
Thus you have shown both sides clearly.
Practice this move in front of a mirror and
see for yourselfhow effective it is. To
produce the load . . merely bend thefingers
into the palm, this brings the opening of
the cigarette packet directly behind paper
. . pierce the paper and extract first item.
This is pulled only half-way through, so
thatithangsparton either side of the
paper.
T o REPEAT . . Leftthumb and first
finger reaches down to bottom of thepaper
and turns it over as before . . audience are
thus shown both sides of the paperand the
articles just produced. Repeat for as
many articles as possible, of course piercing
the
paper at different points. Finally PATTER IDEA:
packet with cigaretteinside is brought out. Performer enters reading a newspaper,
(or picks it up from table). Cracks a
Tip cigarette into the hand, place it into topical gag or two (if desired) . . then ap-
the mouth . . go to pocket for lighter (ditch parently notices a news item or advertise-
the packet at same time). Use lighter on ‘L
mentandremarks . . there seems to be
cigarette . . and there you are! plenty of stuff about these days . . for in-
Another idea with touch of comedy . . . stance . . here’s a note . . More Silk com-
On side of packet, paste a striking surface ing in from Japan (produce silk hanky).
from a box of matches. Push a match in- Here’s a firm selling cheap Nylons . . I
to cigarette. When you produce cigarette, must look into that!
(remove Nylon)
look around for a light, without success . . Here’s one for Me !” (remove packet of
strike the CIGARETTE on the side of the cigarettes, etc.).Gointo sleights with
packet, place it in mouth and puff merrily cigarette, if desired. Silent performer can
away . . an excellent laugh climax! do the whole thing in mime.

TEE LINKING RING

A magic monthly magazine exclusiv-
ely for members of the International
Brotherhood of Magicians. Publish-
ed continuously since 1 923. Averages
140 pages, illustrated, each month.
You do not have to belong to a Ring
to apply for membership in the1.B.M
Writefor details and application form to :-
INTERNATIONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton, Ohio, U.S.A.
or W. G. STICKLAND, “ T h e Wand”,
Dudsbury Crescent, Ferndown, Dorset.

I33
 C A N D YC A S C A D E

WITH A LARGE handkerchief, a ring and a piece of wire

make a “load bag” as shown in the illustration. Load the bag
with sweets and close it by engaging the small ring on the
hook at the lower end of the wire running down one side.
Suspend the bag by means of the hook at the top on your
waistcoat or shirt beneath your jacket, on
the right hand side of the body. In your
right jacket pocket or trouser pocket, place Borrow a gentleman’s handkerchief,
a medium sized sweet dish or saucer and and after showing it freely on both sides,
you are ready to perform. grasp it by one corner in the right hand.
With your lefthand,feel, in the inside
jacket pocket on the right side. The
hand at this stage secures the bag, bringing
it out behind the handkerchief and taking
the latter, together with the bag concealed
in the folds thereof, from the right hand.
The right hand now goes to the right jacket
pocket and removes the dish. The whole
action should appear as though you have
merely searched first inone pocket and
then the other, for the dish.

Hand the dish to someone to hold, or

hold it yourself in your free hand, dangle
- ooai n the handkerchiefover it for a moment
allowing the base of the bag to rest tem-
porarily on the dish, which action causes
the ring to disengage itself from the hook.
Raise the handkerchief and bag and the
sweets will shower downinto the dish
where they are revealed as the handker-
chief is taken away.

Dispose of the bag secretly while the

sweets are being sampled and return the
handkerchief to its owner. If using your
own handkerchief you need only to tuck
it back into your pocket with the bag still
inside it.

You will find this a really nice stream-

lined method of performing this popular
trick, eliminating as it does the necessity
of concealing the bag behind a chair or
table as the old method.

134
 Now four more cards are taken, for con-
venience, from the bottom of the pack.
Theyare, for example, four red cards.
Theseareshown, then counted over in
front of the audience. They see four red
cards. The cards are counted again and
this time they appear as three red cards and
oneQueen. A furthercount produces
two red cards and two Queens, and so on
until the conjuror has only four Queens in
his hands.
The handkerchief is opened and inside
are the four red cards.
Find theQueen of Hearts, remove it
from the fan, show it, then place it face-
outwards (facing the audience, that is) on
the back of the fan. To make this clearer, .
the Queen of Hearts is now back to back
with the top card of the pack.
Tell them you’re in a generous mood,
that not only can they have the Queen
of Hearts, they can have the other three
Queensas well. Remove them one at a
time, show them, and place them on the
Queen of Hearts.
135
 Bring the pack back to the normal posi- Fan the packagain towards yourself.
tion, face down in the left hand, and the Tell the audience that you need four more
four Queens will be on top face-upwards. cards and, as fourred cards have presented
Showthemagain,spreadingthemapart themselves conveniently at the bottom of
and, in so doing, spread four more face- the pack, you’ll use those. Take them
down cards as well. Insert the left hand one ata time from the bottom and transfer
little finger underneaththeeighth card, them face outwards to theback of the pack
then theright hand lifts thetop eight cards (as you did with theQueens), calling
about an inch off the pack so that they can their names as you do so.
be held by the left hand thumb and fingers
Return the pack to its normal position
away from the balance of the pack which
and fan out the four red cards, and also the
rests in thelefthand palm. Keep the
four face down cards below them. Insert
cards tilted slightly towards the audience
your little finger underthefourth face
allowing them to see the top Queen.
down card, then the right hand squares up
The righthandnow removes thetop all eight top cards and lifts them from the
Queen, shows it and places it face down pack, tilting the red cards slightly towards
underthepacket of seven cards. The the audience.
other three Queens are dealt with in the Now we come to the only sleight, the
same way. The position now is thatthe Buckle Count. Place the balance of the
pack lies on the left palm face down, and pack onthe table. Hold the packet of
a packet of eight face down cards is held a eight cards (four red cards face up,and
little above it by the fingertips. four Queens face down) in the left hand
The right handnow grips the packet and countthem into theright hand without
from the top, fingers at the front, thumb reversing the order. When you come to
to the rear but, as it takes hold, the thumb the fourth card, keep it in the left hand,
at the rear makes and holds a break in the remember it has four cards under it.
middle of the packet, i.e., four cards are Here comes the tricky bit. Count again
below thebreak (thefourQueens)and but, this time, do the Buckle on the third
four are above it (the four red cards). card, which leaves a face down card in
Now ask for the loanof a handkerchief, your left hand for the fourth. Turn this
and say, No, Sir, notto blow my nosein-
“
face up (it’s a Queen) and place on top of
I want ittowrap up theQueens!”. As thethree ( 2 ) face up reds. Repeat this,
you say this,the right hand liftsthe packet and you havetwoQueens.Twice more
of eight cards from the left and casually gives you all four, with fourred cards hid-
exposes the Queen on the face of the pack- den face up below them.
et. The packet is placed momentarily on Now return to the man with the hand-
top of the pack for just as long as it re- kerchief. Ask him toopenit up. As he
quires for you to let the bottom four cards does so, dump the Queens on the face of
(the Queens) drop on to it. This means the pack, which also gets rid of the hidden
that the right hand now holds red cards red cards.
only, so keep the back of the packet to-
wards the audience. Whenyou receive When he opens thehandkerchief, he ap-
the handkerchief, wrap the four cards in it parently finds thefour red cards, which
and ask someone to keep the bundle in a have just changed into Queens “before his
safe place. very eyes”.

The packnow has fourQueens face

down on the top, and four red cards on the “EFFECTIVE CARD MAGIC”
bottom. by Bill Simon - Price 45/-.

136
 A THRILLING
TASK . . yet, he “stopped the bill” and received
a “standing ovation” !
ONE OF THE most thrilling jobs I’ve
doneinmanya long day, has been the What manner of a magician could do a
transcribing fromTapes,thewonderful thing like that? . . he must have been great!
material for the book by Dai Vernon,about
that amazing man, Max Malini. If it gives
I bet that to many of you, he is practic-
ally unknown . . and little wonder, for very
you half the pleasure it gave me, you will
little has previously been written abouthim
get your money’s-worth, ten times over . .
whateverthe publication price! I hope . . and most of that, not very accurate . .
yet his feats became legendary and hecom-
the sales will be heavy . . not from aselfish
manded fantastic fees for his performanc-
financial point of view, but because I be-
es !
lieve that its contents are of inestimable
value to the fraternity. Watch out for publication date.
Even a magical genius like Dai Vernon LEPRECHAUN’S AHOY!
confesses . . in his foreword . . that Malini
greatly influenced his magical thinking. Thrilled with the above news was a re-
cent visitor to the Studio . . that fugitive
This book will be the first authentic des- from the lovely Emerald Isle . . . Hubert
cription of the tricks, methods and philo- Lambert. Hetoldme that he hadheard
sophy, of a magician who gained entree some details of the project, from friends in
into the most exclusive circles-financial America . . he has pen-friends all over the
and social-in Europe, America and Asia. world. Whata knowledgeable chap . .
A list of people entertained by Malini andwhata sense of humour.Recently,
sounds almost fantastic. He presented in his home town, Dublin, heworked a
performances before American Presidents clever “card trick throughthepost” on
at the White House, as well as Command newspaper columnist Patrick Campbell,
Performances at Buckingham Palace. He and it was reported in “The Sunday
.
was decorated by almost everyMonarch in Times’’ . quite a feat in itself, for they
Europe and Asia (and there were quite a usually concern themselves with the more
few in those days !) . Not only did he en- weighty problems of the day. Good for
tertainRoyaltyandthegreat financial you Hubert !
tycoons, he also became their intimate
friend and confidante. THEMARSHALL’S
Apart from the tricks . . most of them Frances and Jay, famed Chicago magic
simple to do, but tremendous in effect . . dealers and publishers, dropped intothe
there are many wonderful stories of how Studio for a quick chat.Jay’s act had a
Malini “promoted” work and got oodles of most successful time in Australia and he
publicity. He used very little apparatus, said he found that for very few extra dol-
yet gave a full evening’s show. His great- lars ( !) they could return home via most
ness can be measured by the telling of the of the rest of the world . . so they did . . in
occasion when he went on last at a show double quick time. ThisJetPlane stuff
which featured manyof America’s greatest may be speedy . . but, it’s knocked all the
stars, which had already run for three hours fun out of travel!

137
 CHRISTOPHER’S
WONDERS CIRCLE
FROLICS
Another visitor to the Studio,Milbourne
Christopher is over here to tour with his Many chaps have been telling, writing
fulleveningshow.Hopethat magicians and ’phoning me, about what they describe
will make a great effort to support him, if as the“goings on atthe Circle” and asking
he comes to their local theatre . . and get me to comment.
their friends to do likewise. Quite frankly,I’d prefer to sit back and
just watch and wonder at the curious an-
NEW YORK CITY GEN tics . . but, with so much talk going round,
is now onhand.Thanksto Bill Simon with the stories becoming more and more
and Faucett Ross, readers canlook forward exaggerated with each telling . . I suppose
to a great issue of The Gen, very soon. I ought toweigh in with my contribution.
SCOTTISH
ISSUE First, was the “excitement” caused by
Another good one to hand is from our the “big stick”, so clumsily wielded against
friendsNorth of the Border. Frederica the “name usurpers”. Recently, seemingly
hasgatheredtogether
another bumper timed to arriveby the samepost as thebal-
issue for early publication. lot paper for election of officers . . mem-
bers received a circular letter from acandi-
DON LAWTON date aspiring to the post of treasurer, Mr.
One of America’s nicest chaps and Geoffrey Robinson, Past President of the
straight-updealer, hails from St. Louis. British Ring, International Brotherhood of
He sent me the programme of the recent Magician’s, Hon. Secretary of the London
MidwestMagicJubilee, held in his City. Society of Magicians and Member of the
The programme . . Don’s own idea . . is Inner Magic Circle, in which his “qualifi-
one of the best I have ever seen. Informa- cations” for the job were given at length.
tion about the various eventsis printed on In the same post, another letter, this one
small cards that fit into a plastic wallet. from the President of the Magic Circle,
One just flicks throughthetransparent Francis White, writing, s o he said, “in his
plastic pockets to check time and place of private capacity”, strongly recommended
thevariousevents. I betthatothercon- that members vote for Mr. Robinson.
vention organisers will “borrow” his idea Many recipients wondered why the
. . and I’m sure that Don won’t mind . . President 4‘.
Intervened” in this way in
for, as our Australian friends say . . “it’s favour of one of the candidates . . they felt
a beaut. !”.
they were quitecapable of making up their
own minds and didn’t want to be “told”
BOOKS ON CREDIT how to vote. To my own personal know-
For manyyears now, I have tried to help ledge this “letter of recommendation” led .
chaps get together a decent library, with many members to votefor “the other man”
our interest-freeinstalmentscheme. Re- . . Hon. Librarian and old Circle member,
cent letters show there are still many who
Colin Donister!
do not know the details of this scheme . .
so here they are. Books are sent on pay- The Annual General Meeting was, ac-
ment of one-fifth of the total amount of cording to all reports, a very lively affair,
order . . balance is paid by five equal follow- with theproceedings being broken upwhen
ing monthly instalments. Happy to report it was pointed out that someone had bun-
that out of all who have, over the years, gled by including in the list of candidates
taken advantage of this scheme, only one for Council, the name of a member who
has defaulted . . a pretty good indication was not qualified. The election was
of the general honesty of the magic fratern- declared null and void andthe meeting
ity ! adjourned!

138
 So, they started again from scratch . . with the “boast” that viewers will not see
members received anothervoting paper any “card or book tricks”. I think that
but, this time, Mr. Donister took advantage audiences are interested only in what a
of the “break’ to send members his own performer can do . . not what he cannot, or
version of things, pointing out that, apart won’t do. Apart from this, many consid-
from qualifications”, ALL his magical
‘L
er this type of announcement asa “knock”
activities had been confined to the Circle, at other performers who do use cards and
exclusively andthat he thought he was books . . as did Harbin and Koran, in their
the best man for the job! recent series.
And so the battle for this “plum job” Come off it Bill, this sort of thing might
(with “fame” rather than “finance” being sound funny at a magic show or conven-
the officer’s award), was renewed . . what tion, but addressed to millions of viewers,
a carry on! it gives the impression of “needle” or
‘L
For my part, I feel a little sad, that here sour grapes”.
again was an “issue” that could have been T.V. DANGER
handled withthe discretion anddignity While on the subject of T.V. and Bill’s
one should expect from so fine a society . . show . . we saw another example of how
and it was not! cruel is the T.V. camera to magic that is
A SECOND THOUGHT under-planned and under-rehearsed. Illu-
It has just struck me, that the “establish- sions . . which Billy seems to be specialising
ment”governing Circle matters, decided in these days, . . need fast, clean, split-tim-
that they ought to “get in the groove” . . ing action . . and unless the performer and
‘L
get hep” and all these curious antics are assistants give this, the flaws are picked up
part of a plan to liven up what otherwise and magnified by the camera and they stand
might be dull run-of-the-mill procedure. out like a sore thumb. This is one of the
If this is so, they ought togo the whole hog troubles for the performer doing a series
and cancel one of the Monthly Circle Con- on T.V. It’s not an easy problem . . but,
certs in favour of a slap-up “pre-election it can be solved by a lot of thought and
do”, complete with Brass Bands, Pretty, hard work . . and if this is not done the
high-stepping Lady Cheer-leaders and viewing public will consider that magicians
Baton Twirlers, with the Candidates mak- are not very high-grade quality entertain-
ing stirringspeeches, illustrated with tricks ers.
. . what a show that would be . . perhaps Ken Brooke GETTING AROUND
as good as some of the concerts members and I are off to Belgium for
get at their free monthly do! the International Convention in Liege and
P.S.-As we go to Press . . news comes then almost immediately afterwards go to
that Colin Donister was elected to be the Harrogate for the British Ring I.B.M. Con-
Treasurer of the Magic Circle-Congratu- vention . . so we’ll be up to our necks in
lations and Good Luck Colin! it!We hope to see many of our old
friends . . and make lots of new ones . .
WHAT A PITY in the meantime . . all the best.
Billy McComb starts off his T;V. shows HARRY.
A 100% MAGICAL
SERVICE FOR YOU !
HARRY STANLEY 14, FRITHSTREET, LONDON, W.l.
.- 3 minutee from Piccadilly . . Leicester Square or Tottenham Court Road, Tube Station
Telephone - CERrard 5409
Callers please Note- Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday - 9 a.m. to 4 p.m.
139
 UNIQUE
GHOST TUBE
BOTANIA
A LARGE METAL TUBE is shown clearly EMPTY. Magician
places a piece of Tissue Paper over one end and fixes it into position
with a metalRing.Another piece of TissueandRingissimilarly
placed over the other end.
Magician now breaks t h e !Pissue at one end and produces a lovely
assorbmeant of Flags . . Silks . . Flowers . . Streamers etc.,etc.
Breaking the Tissue at the other end . . he produces a further load
of Silks,etc.Thisalonemakes a Magnificent Show . . BUTTHIS
IS NOTALL for he now places the Tube into a Flower Pot . then
lifting the Tuhe . . there . . in the pot . . is a Gigantic Bunch of FLOWERS (Feather) . . A MOST
SPECTACULAR SIGHT. To a n audience i t would seem impossible t h a t such a huge bouquet could
be concealed in such a small tube . . particularly in view of the fact that the magician had just pre-
viously produced a huge load of Silks etc., from the SAME tube.
THIS NEW UNIQUE GHOST TUBE BOTANIA makes a GRAND FINALE the audience will remem-
ber.
The apparatus incorporates a new mechanical feature which enablestrick t o be done quickly and
neatly without fumbling . . a lovely joh !
Can be performed RIGHT AWAY!
No silks, etc. are supplied for the initial Ghost Tuhe production . . hut of course the Botania is COM-
PLETE with the lovely Flowers.
Price E l 0/10/- U.S.A. $42.00.

SILK-ON
You show a piece of Rope quite freely, running it through your
hands several times. You then tie a Knot and Instantly a Silk
suddctnly makes its appearance right in the centre of the knot . .
a real startler! You then carry on with a routine by Ken Brooke
he calls
“ KNOTS TO YOU“
in which you firstremove t h e silk, then untie the knot . . . but
whenyoucover t h e rope with the silk . . the Knot re-appears !
This is repeated several times with a nice Laugh Gag, as an addi-
tianal feature. Very easy to do . . this is “a clever piece of magic
on its own”, but as both the rope and the silk are unfaked . . YOU
can use them to follow on with the NEXT TRICK
Complete with Rope . . Silk and fully illustrated instructions plus Ken Brooke Routine andGimmick
.
(which can be used for other tricks . a real Utility Prop).
Price 8/6 U.S.A. $2.00.

NEW SILK
T O FLOWER trick by RAVELLE & ANDREE

A Silk magically Changes into a nice-looking Flower, which you

can then put intoyour Button-Hole. A very neat and effective spot of magic.
Talking this over with Duggy Francis here, he suggested that we could
incorporate his clever “Match to Flower” so that magician can first strike
a match . . and the LIGHTED MATCR instantly changes t o a FLOWER,
which in turn, instantly changes t o a Silk, which can then be used for a
trick which follows . . a nice flowing series of magical SURPRISES.
iYow we supply the FLOWER . . SILK and INSTRUCTIONS for perform-
.
ing BOTH the above effects . so you can do it EITHER WAY !
Very Good . . Very EASY to DO! Price 7/6 U.S.A. $1.50.

140
 0 SENSATIONAL
NEWS . . . UNIQUE
J U M B O PACK
Now consists of F 1 F T Y -NINE C AR D S !
The regular 52 . .plus Fourdouble-face Aces (Aces on
one side, indifferent cards on the other). . Double-Backer
. . Blank-Face . . and Joker. The Backs incorporate a
subtle one-way design and can also be easily made into
“Readers”, so that you can see the value of each card
from the back! We also give you a Printed Book which includes such tricks as
“Miracle Prediction” (as used by A1 Koran on T.V.) “Clipped”, “Red Her-
ring” . . “20 Card Transposition” . . “Whispering Queen”and“Trio”. All
smashing effects, yet Easy to DO. Despite additional cards . . the PRICE is just
the same!

Il Price 25/-

THOUSANDS O F MAGICIANS
s e n KENBROOKEperformthis,
HERE .. ..
on theCONTINENTandinAMERICA
U.S.A.

who have
will tell you that it is one of the FUNNIEST-FOOLERS in the
$5.00.

Business.

C H A S E THE ACE
THREE GIANT-SIZE CARDS . . each TWELVE INCHES by NINE INCHES . .
made of HEAVYcard . . with Super Plastic Finish that’s Washable and Durable
. . plus . . a Laugh-packed Routine which will Fool them.
The three cards . . the ACE . . TWO and THREE are shown quite clearly . . but
n o matter how closely the audience follow your slow and deliberate movements . .
.
they cannot find the Ace. This is repeated . but still the Ace dodges them! Finally
a member of the audihnce holds the elusive Ace himself ..
but ..
without any exchange
whatever . . he finds t h a t it, has CHANGED to a DIFFERENT CARD !
No Double or Pocket Cards are used . . only THREE CARDS USED. This Fun.
getting-Fooler is EASY TO DO . . A winner if ever there was one!

Price 12/6 postage I / 6 U.S.A. $2.50.

.\JUMBO JACKPOT ”

H E R E I S A REAL GEM. CLEAN and DIRECT IN

EFFECTand yet VERY,VERYSIMPLE TO DO.
NOT a single sleight anywhere. The cards do all the
work . . YET . . i t is so CONVINCING i t will Fool
the most experienced magicians.
FIVEcardsarefannedout . . theyareall Different, 1
andastheyarespread, reveala perfect “Running
Flush”. Highest card of the run is turned face down
111 on table. a n z sDectator is invited tonameit.The re- X&-N>Z~
11 mainin g’ fourcards are also turned face down and
I

spectal;or is Asked to ind icate position of t h e lowest . .. . .

value card . . but, when the four cards are turned face-up, and dealt on to t h e table . . I t IS seen m a t
the four cards are now ALL THE SAM13 VALUE !
If you’ve missed everything me have ever offered . . DON’T MISS THIS ONE.
Complete with full instructions and the five cards .. YES ..
ONLY five cards are used !
Price - 7/6

141
 a T E R R I F I CV A L U E !

TRICKS and MORE

TRICKS
of the
TELEVISION STARS
A GREAT COLLECTION of almost a HUNDRED TRICKWTUNTS and
GAGS for the POCKET.
Routines with Coins - Cards - Cigarettes - String - Paper - Dice -
Matches - Cups and Balls-Torn and Restored Cigarette Paper (shown with
great success on T.V. recently) - Mental and Novelty Tricks - Bar Stunts,
Gags and “Teasers”.
..
Well Printed 96 pages and Illustrated by nearly One Hundred and Fifty
Photographs and Line Drawings.
Price S/- U.S.A. $1.00.

11 I() N E W B O O K S F R O MA M E R I C A
‘‘ CLUB and PARTY MENTALISM” by Robert Nelson. America’s leading publisher on Mentalism
. . here offers
a manual for the mind-reader working for small audiences. It deals with the technique
of performingforclubsandprivategatheringsandalsoexplains a number of mentalandpsychic
“gems”FlexibleBoards . . 50 pagesTypescript - Price - 17/6d.
‘‘ THE SPIRIT IS WILLING’’ by James Auer. A completely routined act of Mental and Spiritualistic
effects for Club, Stage, T.V. andDrawing Room forsingle-handedperformances. Eighteffects plus
Patter and Presentation. 50 printed pages - Price - 14/-.

11 “ BLOW BY BLOW” by Jim Sommers. A new book on Balloon Magic. 28 printedpageswithIllu-

strations of Tricks, C a p s and Novelties including“delayedactionbursting”. Price la/-. - -
...
Il I‘ VENTRILOQUISM and TELEVISION TICKLERS” by Paul Stadelmam.Two

The first teaches you t h e a r t of Vent. and handling figures. The

edyDialogues.

SICK SORCERY”.
50 printed pages -
Price - 14/-.

Twenty-Four Performance Teated Tricks, Routinesand“bits”

Books in One
second comprises of Nineteen Com-

of business.
Over 40 Illustrations in 48 well printedpages. One trick won three trophies! Pri& 14/-. - -
” THE CARD MAGIC OF BRO. JOHN HAMMAN”. Thesearenot“just”cardtricks.Theyare
unusualinmethod,subtletyandstratagem. No impossiblesleight of handisinvolved,yeteachis
Stunning in Effect and Climax. 48 well printedpageswithillustrations. -
Price - fl.
.....................
----..- _--..._.
..................................
~ __
........._...._..
....._......_.
_.._
.._..._.______ -- ...................- ..........--...-..--...
....._.........
_...~...__....._............~..I

‘‘ MAGIC WITH CANES” by Hen Fetsch. Packed full of clever, practical and entertaining uses for
the magician’s cane, whether i t be an un-prepared one, one of the “appearing” or “vanishing” variety
or otherwiseprepared for specialeffect.Over 100 PresentationsandRoutines.Three dozensplend-
idillustrationsin 48 packedPrintedPages. - Price - 14/-.

BOOKS - BOOKS - BOOKS

WE CARRY the LARGEST STOCKS of BOOKS of MAGIC IN THE COUNTRY. Beingourselves
the actual publishers of numerous books, we have special arrangements with other American, British
and Continental publishers t o supply us with their books immediately on publication. We also receive
a constant and regular supply to replenish our stocks. Therefore, providing the book is in print, we
can usually supply it from stock by return of post. Out of stock requirements can be speedily obtained.
Your orders will always receive our careful and prompt attention.

142
0 FROM
AMERICA . . .

"STARS O F MAGIC"
Consider this advertisement as a

GIFT FOR SEVENTEEN SHILLINGS and SIXPENCE

This is my way of introducing to you one of Magic's greatest books, " THE STARS OF MAGIC ",
by some of the "Greats in Magic". l'he original was published in loose form as per details below and
sold for over thirty-two pounds ($94.00.). Now it has been re-printed as a regular 8& ins. by 11 ins.
Hard Cover Book, with hundreds of illustrations by George Karger.

Correctpriceisf4/7/6d. ($12.50.). However, you can send f3/10/- . . mentionthis offer . . and
save yourself seventeen shillings and sixpence!

No. 1. SCARNESERIES: No.

7. DR. DALY SERIES:
l-Uassic Ball Routine .......................................... $3.00. l-Cards Up the Sleeve.......................................... $5.00.
2-Silver and Copper Coin Routine............$3.00. 2-ltinerant Pasteboard .......................................... $3.00.
%Triple Coincidence Card Effect ..................$1.00. L C a v o r t i n g Aces............................................................ $3.00.

No. 2. 1 s t DAIVERNONSERIES:
l-Triumph Card Miracle .................................... $2.00 No. 8 SLYDlNlSERIES:
%Cutting the Aces................................................. $2.00. l-Miracle Cigarette, Torn C% Restored $5.00.
%-Spellbound, Coin Routine............................. $2.00. 2-Flight of the Paper Balls, Hilarious $3.00.
&Kangaroo Coins, Coins Thru Table.. ..$2.00. %Flyaway Coin Routine................................... $2.00.

No.
3. ALLERTON, HOROWITZ, JARROW
SERIES: No. 9. ROSSBERTRAM ONCOINS:
l-Bamboozle Money Rlagic .............................. $1.00. l-Five complete feature coin effects.
L P u m p Room Phantasy, Card Gem......$1.00. Rubdown, Doublecross, Passing
%-Egyptian Ball Mystery ................................... $1.00. the Half backs. The Porous Pan,
4-Chink-a-Chink, Superb TableEffect ......$1.00. Coin Assembly. 12 pages.
5-Hanky Panky, Clgarette Penetration $1.00. Complete .................................................................. $8.00-
................................................................................................

No.
4. CARLYLESERIES:
l-Decapitation, Match Wizardry .................. $1.00.
2-Homing Card Sensation ... ......$1.00. No. 10. VERNON ON MALINISERIES:
%-Wrist Watch Steal and Coin Routine $2.00. 3 Miracle Effects, Malini's Own Colour
Change, Impossible Vanish of a Coin
and Blindfold CardStabbingTrick.
No. 5. 2nd DAIVERNONSERIES: Each withthefamous Malini touch.
l-Cups and Balls Routine Impromptu $5.00. Complete. ........................................................................ $10.00.
2-Ambitious Card, Terrific .............................. $2.00. ................................................................................................
%-Mental Card Miracle .......................................... $3.00.
...............................................................................................
No. 11. VERNON ON LEIPZIGSERIES:
No. 6. 3rd DAI VERNONSERIES: 4 Effects, Leipzig'sopenerand Leip-
l-Ring on Wand, Six Impromptu zig's AcrobatCardSensation.Stack
Methods.................................................................. $5.00. of coins thru hand and torn and re-
2-Slow Motion Four Aces.................................... $4.00. storedcigarettepaper.Masterpieces
%-The Travellers, Card Feat ........................ $3.00. of Magic. Only............................................................ $10.00.

Price Complete - f3/10/-

0 G R E A TN E W S ! !

FOR THE FIRST TIME EVER IN THIS COUNTRY

.
FANNING CARDS. . PRINTED ON REAL PLAYING CARD STOCK ..
EXCLUSIVELY FOR U S . . BY THE COUNTRY’S LEADING PLAYING
CARD MANUFACTURERS.

UNIQUE

SUPER
F A N N I N GC A R D S
The Backs have a BoldModernDesign created specially for “fanning”. The
Colours are Brilliant - Red - Blue - Black - White and Yellow.

You can get many beautiful combinations, designs which blend into lovely
patterns of ever-changing Colour.

Suitable for showing to large audiences, equally effective for Drawing Room.

The faces have the Normal “Spots” and “Courts” . . also included is an Ex-
tra Blank-face Card, which enables you to start the routine byfirst showing that
the pack consists of just White cards with No Faces. You remark: “Someone
must have forgotten to print them . . solet’s do it by magic”. Showing them
once again, they now all have perfectly . . .printed faces . . each and every card!

This makes a splendid “opener” for the fanning routine. . and is described in
the well illustrated instructions we give with each pack.

CARD FANNING is POPULAR with EVERY type of audience . . “Young”

. . “Old” . . “Normal” or “Sophisticated”. It gives the onlooker the impression
that you are tremendouslyskilful with cards . . Little do they suspect thatit real-
ly is Very Easy to Do . . in fact . . a few minutes after receiving your outfit,
you will be able to make Beautifully Patterned Fans of Cards!

Price 12/6 U.S.A. $2.00.

I
1Ill1 J, B O O K S F R O M AMERICA - - -
WE CARRY ONE of the LARGEST STOCKS of BOOKS of MAGlC IN THE COUNTRY.
Being ourselves the actual publishers of numerous books, we have special arrange-
ments with other British . . American and Continental publishers to supply us with ‘their
books immediately on publication.Wealso receive a constant and regular supply to re-
plenish our stocks.Therefore, providing the book is in print . . we can usually supply it
from stock by return of post. Out of stock requirements can be speedily obtained. Your
orders will always receive our careful and prompt attention.
SEND FOR OUR CURRENT BOOK.LIST . . IT’S F R E E FOR THE ASKING.

DAI VERNON’S “-$ELECT SECRETS W

A new and enlarged edition comprising of a baker’s dozen of

select secrets of masters. Excellent tricks with Cards . . Coins . .
Cigarettes . . Silks and Dai Vernon’s beautiful closing effect for
his famous Harleauin Act” . . the original Snow Storm in
“ “

China”, 42 panes. limp board covers.

.\ Varlcd
S..-.. ........
Amwnrclt

Price - 1016 Post 6d.

Il 6
AN EVENING WITH CHARLIE MILLER
AT LAST, thislengendary Americanmagician has been persuaded to write a book.
expected . . it is full of GOOD THINGS . . Certainly NOT TO BE MISSED!
As would be

Price - 21/-
” CONVENTIONEERS a t HARROGATE had, thanks to the sl’lendid. Mystic Craig film n n opl)ortunity
to see the terrific tricks of Bro. John Hamman. This caused :t rush to get his splendid book . . and how
i t deligllted them. Share their delight by treating yourself to a copy of
“ T H E CARDMAGlCOF BRO. JOHNHAMMAN”.Thesearenot“just”cardtricks. They are
unusual in method,subtletyandstratagem. No impossiblesleight of hand isinvolved, yeteach is
Stunningin Effect and Climax. 48 well printedpageswithillustrations. - Price - Cl.

“T H E S P I R l T IS WILLING” by James Auer. A completely routined act of Mental and Spiritualistic

effects for Club, Stage,T.V. and Drawing Room forsingle-handed performances.Eight effects plus
Patter
andPresentation. 50 printed
pages - Prlce - 14/-.
....................................................................................................................................................................................................................

“ BLOW BY BLOW” by Jim Sommers. A new book on Balloon Magic. 28 printedpageswithIllu-

strations of Tricks,Gagsand Novelties including“delayedactionbursting”. Price - 14/-. -
....................................................................................................................................................................................................................

“ VENTRILOQUlSMandTELEVISIONTICKLERS” by PaulStadelman. Two Books in One ...

The first teaches you t h e a r t of Vent. and handling figures. The second comprises of Nineteen Com-
edy Dialogues. 50 printed pages - Price - 14/-.
.....................................................................................................................................................................................................................

“ SICKSORCERY”.Twenty-FourPerformanceTestedTricks,Routinesand“bits” of business.
Over 40 Illustrationsin 48 well printedpages. One trick won threetrophies! - Price - 14/-.
......................................................................................................................................................................................................................

“ MAGlC WlTH CANES” by Hen Fetsch. Parked full of clever, practical and entertaining uses for
the magician’s cane, whether it be an un-prepared one, one of the “appearing” or “vanishing” variety
orotherwisepreparedfor specialeffect. OW^ 100 PresentationsandRoutines.Three dozensplend-
id illustrations in 48 packed PrintedPages, - Price - 14,’-.

-
“Slating
Stanley” - Hubert
Lambert .... 148
Lewis
Canson Explains -
“Knock-Out” - K%149Brooke ...
The “Seekay” Tricords . . . . . . 158
The Lucifer
Pack - KenCourcy
de ...... 151
Lamps
New for Old - 160
Rink .... ......
Think of a Number - Tom Sellers ... 162
The Spirits Answer - A1 Koran
153 . . . . . . . . .
Over the Rainbow - Douglas Francis 163 .....
Small
Change - Robert Hamilton ...... 155
Review - Harry Stanley . . . . . . . . . . . . . . . 165

147
“SLATING S T A N L E Y ”
BY HUBERT
LAMBERT (EIRE)
TODAY A LETTER from Harry Stanley arrived
at ourplace in which he said “ . . good to hear
from you . . muchly ta’s for Cen article, but make it
something other than cards next time, please”. That
.L
muchly ta’s” probably is a cockney colloquialism
and it is the useof such condiments thatlend so much
flavour to the privateeffusions of this cockalorum !
So, to make you both happy, we will pass on some-
thing we haveused for over a decade since
Ollie Samuel brought- it back from a Con- hands. (Message is now on under surface
tinental trip. Simply stated, it is a series of top slate.)
‘L
ofeasy moves” to make it possible to “Nothing on
11

the outside, you com-

show two slates blank on both sides, and ment. Now slide the top slate off in an up-
yet, without addition or subtraction of a wards direction, and place it as is under
‘L

flap, cause a message” to appear on one

slate.
the other.
“And nothing on the
*.
inside, you con-
We use two pieces of plywood painted tinue. Retaining back slate in an upright
black, measuring twelve inches bynine position, allow front one to fall forward
inches. Onone occasion, bytheway, towards audience (like a book opening).
white cardboard was used and a drawing It goes a half circle downwards, being pre-
in black was spirited into existence, alleg- vented from falling by right fingers taking
edly the work of a commercial artist who purchase on it as it swings free from other
had passed on. one.

Well, the “message’’ at commencement The slate in left hand is now placed as
is on the top surface of the bottom slate is in front of other one, and that’s that.
as you pick them up. Stand right side-on You have apparently shown both slates
to audience, holding the slates in left hand “inside and out”, and the message reposes
chest high, presenting a full blank surface safely hidden onundersurface of front
to the spectators. slate, ready for display when the right time
comes.
Hands are midway along top and bot-
tom sides. Whilepatteringabout“these We generally “pivot” them once more,
two slates” you are about to use, turn the so that later the mere lifting of the front
pair once over, pivoting them between the slate discloses the legend.

TEE L€NKING RKNG

A magic monthly magazine exclusiv-
ely for members of the International
Brotherhood of Magicians. Publish-
ed continuously since 1 923. Averages
140 pages, illustrated, each month.
You do not have to belong to a Ring
in the 1.B.M
to apply for membership
Write for details and application form to :-
INTERNATIONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton, Ohio, U.S.A.
or W. G. STICKLAND, “The Wand”,
Dudsbury Crescent, Ferndown, Dorset.

148

T* H E COINCIDENCE EFFECT with
two packs has always been a p o p -
lar one with magicians, the effect in
one form or another has been featured by
some of the leading professionals.
I
of the inner jacket pocket. Do this in
such a mannerthat the clipitself holds
open the mouth of the pocket;

From one pack remove two cards . . we

During one of the many chats with that will assume that the Aceof Hearts andTen
great artiste, Billy O’Connor (he of the 52 of Spades are used. Place these two cards
Assistants fame), he drew my attention to in your inside jacket pocket proper-noth-
a method with which he had great success ing other than these two cards should be
over the years. Later, whilst staying with in the pocket.
my friend Lewis Ganson for a few days,
my attentionwas drawn to yet another
method of performing this classic. The
inventor of this method (who’s name I
cannot recall at the time of writing), had
something but it lacked the smooth work-
ing which a working performer desires.

This method has a little of the. Billy

O’Connor touch-plus a little of the above
un-named person and a gimmick, which,
so far as I a m aware is the invention of
myself. It makes the entire effect practic-
al under any conditions.

The Gimmick: Consists of a weighted

pocket to whichis attached a length of
tape. Youwillalso require a pen (or
pencil) with a clip attachment. Also re-
quired are two packs of cards.

Set-up: The Gimmick: Fasten the

safety pin to the centre of your vest (or
shirt) at a point just below your collar.
Swing the bag over and with the aid of the
pen clip, fasten the pocket to the outside

149
 Place the duplicates of the two cards in
the second and fourth positions from the
top in the second (complete) pack.
you are ready to present the effect.
Presentation:Havethetwopackson
your table. Each pack should have a dif-
ferent back so that you can easily teII which
is the pack with the two cards missing.
Invite a spectator to pick up one of the
packs. If he chooses the pack withthe
two cards missing, you proceed as given
later. If he should choose the set-up
(complete) pack you ask him to throw it
to you and with the other pack he is to
follow your movements.
In short-You work the magicians force
and leave him with the pack from which
two known cards have been removed.
(This pack will bereferred toasthe
“Short” pack from hereon.)
Ask him to remove the cards from the
case-Examine themandthen give the
pack a shuffle-you do likewise with your
pack, first showing that all the cards are
different, etc., but don’t make a song and
dance about it.
When you shuffle your cards you must
take care to keep the top four cards at the
top. If you have had previous experience
withcards, this will present nofurther
trouble . . if you have had no experience
with cards, do it this simple way . . Hold
the pack in your left hand faces towards
the audience-The tips of the left fingers
curl over the back of the pack and hold
the top few cards in place. The right hand
picks up thecards forward of this point and
gives them a shuffle in the usual overhand
way . . this very simple method of shuffling
is absolutely convincing and also serves the
0 Subscribe to
HUGARD’S “MAGIC MONTHLY”
HERE’S
MARVELLOUS MAGIC - CLEAR - COLOURFUL
Now in its sixteenth year of publication.
J E A N H U G A R D , 2634. East 19th Street, Brooklyn 35, New York, United States of America
We can accept subscriptions for this fine magazine - 35,’-
150
purpose of lettingall cards be seendifferent
. . Again, let us repeat . . Don’t make a
performance of it . . do it the naturalway.
Askspectatorto tell you when he is
satisfied with the shuffle and then exchange
packs. Stress the fact that you could not
know the position of any card in the pack
you are now holding (theshortpack).
Ask him if he knows the position of any
card in his pack.
Tell him to follow your movements-
“Just doas I do”.
1 -Take the top card and place it in the
centre of the pack.
2-Take the bottom card and place this
in centre of the pack.
3-Take the top card and without look-
ing at it,place it in your inside pock-
et.
You both carry out the above-he plac-
es the card in his pocket, but your’s goes
into the gimmick.
You both repeat the above instructions
l to 3. The result is that the two forced
cards are now in his pocket.
Remove the pen (or pencil) from your
inside coat pocket and so allow the gim-
mick to swing into the back of your coat.
Use pen to point to the twopacks as you
re-capitulate on what has been done.
Have thespectator remove the cards
from your pocket and place them face up
on table.
Ask him to remove his cards and they
are, of course, an identical match.
~~
- COMPLETE
Subscription $5.00. per yoar.
per year.
THE LUCIFER PACK - BY KEN DE COURCY
FIRST, THE PACK itself. This consists of six cards in order,
repeated throughout the pack.

The cards are AC, 5H, l OS, 2D, 7C and QH, and have been
chosen purposely to make “divination” easy. The sequence is
repeated nine times, the entire pack totalling fifty-four cards.

N.B.-Before performance, always check to see that the

sequence is correct throughout. The Dack can then be cut as often
as you like, the order wilfnot be destrGyed.
Here are a number of effects of which this is the QH, the chosen cards are AC, 5H
packiscapable. Therearemany more, and 10s.
limited only by your own ingenuity.
Since you know which card is in which
1. CARDS A N D POCKETS: pocket, call them out in reverse order.
The pack is false-shuffled or cut, then a
spectator removes three cards, together, 2. CARD AT ANY
NUMBER:
from the pack. Without looking at them,
he places them into three different pockets. Fan the pack and have cardselected.
The performer then “divines” which card Cut atpoint from which card was removed
is in each pocket. and place top half on bottom.

When the three cards are taken, ask the
spectator to hold them face downwards
without looking at them. Then ask him
to take the first and place it in whichever
pocket he likes. You, meanwhile cut
the pack so that the cards above his choice
go to the bottom of the pack. Place the
pack face upwards on the table and, at the
same time, glimpse the bottom card. This
is your key.
Notice into which pocket the spectator
places the first card.
Ask him to repeat with the next card,
and again remember which pocket.
The last card he places in yet another
pocket.
You are nowremembering three pockets
in order. The bottom card of the pack
tells you which three cards the spectator
chose. If, for example, it shows the AC,
the three cards are 5H, 1 OS and 2D. If it
Have card returned anywhere inpack
but actually slide it straight out to side and
get it tothe bottom of the pack. Now,
every sixth card from the top of the pack
is a duplicate of the one chosen.
Ask a spectator to give you a number
between 5 and 50. If he says 6, 12, 18,24,
30,36,42 or 48, simply count that number
face downwards off thetop of the pack
and turn over the card at that number.
Intermediate numbers, however, need a
little more work. Take, for example, I 7.
This is one short of a required figure; that
is, a duplicate of his card lies at the eight-
eenth spot. This means that one card has
to beslipped from top to bottom. If the
numberwas 16, two would have to be
transferred, and so on.
3. THE “ UP ” CARD:
This is similar in method to the above,
but rather different in effect. A spectator

151
cuts thepack, the top card is looked at then containing nine cards.Eachcard in the
it is buried in the centre of the pack. packet of nine is the same.
Now the magician asks for anumber Checking the bottom card of the first
and, when it is given, “wills” the card to pile will give you the running order of the
move to that number. rest; i.e. If it is the 7C, then the order is
The cards are counted and, at the chosen 7C, QH, AC, 5H, IOS and 2D. The six
number, the card is turned up. people will have those cards in that order.
The method for doing this is identical
with the previous effect.
6. DOUBLE CARD IN
CIGARETTE :
4. MIRACLE
DIVINATION :
Here’s the popular “Card in Cigarette”
done easily-and twice !
The pack is passed to a lady and she
shuffles, she then fansthe cards face down- The performer has two cards (together)
wards and offers them to her escort selected. The pack is broken at this point
for him to take one. The magician takes and the top half cut to the bottom.
back the pack and places it to oneside, then The spectator is asked to hand one card
asks the man whotook the card to concen- to the magician, who places it in (prefer-
trate on it. ably)a Locking Card Box and hands it
“
Your card, Sir, was a cherry-coloured back.
card, I believe?”, asks the magician, with At this point, the performer knows the
a rising inflexioninhisvoice. If this is
card (having glimpsed it as he placed it in-
agreed, it is the 5H, 2D or QH. to the box) and can lift the correct cigar-
If not, point out there are black cherries ette (one of six, each containing a duplicate
(an old gag, but it still goes!) and mentally of the six cards in the pack) from his table
note it must be AC, 1 OS or 7C. and palm it.
If it was a red card, say, “I think it was He borrows a cigarette, switches it for
aHeart!”(Hearts, remember, out-num- the onepalmed, lights it, expresses dissatis-
ber Diamonds two to one.) factionand tears it open. Inside is the
If it was a heart, “It was a high card?”. chosen card.
If it was, it’s the Queen. If it was not, it The spectator opens his boxand the card
was the Five. has vanished.
And so on for the black cards, bearing in “You didn’t believe that, Sir, did you?”
mind that Clubs also are two to one over asks the magician.
I.

Spades. “Right! I’ll do it again.

This time he takes the second card,
glimpses it, and wraps it in a Devil’s
5. SIX HEAPS, SIX CARDS : Handkerchief (making sureit goes into the
slit).
The spectator holds the card
The magician shuffles the pack, then has through the material.
it cut by a spectator who is asked to deal it Again the correct cigarette is palmed
into six face down piles. andanother cigarette is borrowed. They
Six people now choose one card from are switched, then lit and torn open. In-
each pile. side is a card.
The performer reassembles the pack - As this rolled-up card is passed to the
and tells each spectator what card he chose. spectator, the handkerchief is taken from
This is simplicity itself. When the him and swiftly shaken. Nothing falls
cards are dealt you finish with six piles each out; the card has vanished.

1 52
 7. WORDDIVINATION : The pack is false-shuffled, then a spec-
tator is requested to remove three cards to-
Take any book and find the following gether from anywhere. You cutthetop
words in it :- portion of the pack to the bottom and
remember the face card.
Page l 7, Line
7, Word 2 ..................(THE)
The spectator is handed the book and
Page 19,Line 9, Word 2 (FORWARD) asked to total his three cards, calling Jack
Page 2 1 , Line 9, Word 2 (TINGLING) 1 1 , Queen l 2 and King 1 3.
Page 20, Line 8, Word 1 ......( COFFEE) This gives him the number of his page,
and he is asked to turn toit in the book.
Page 1 8, Line 6, Word 1 ............ (YOUR)

Page 1 6, Line 6, Word l .................. (TEN)
Now take a slate and, on oneedge, write
the following:-
AC THE (or whatever your word is)
5H FORWARD (or whatever your
word is)
1 OS TINGLING (or whatever your
word is)
2D COFFEE (or whatever your word
is)
7C YOUR (or whatever your word is)
He is then requested to total the two
lowest of his three cards, and this gives him
the line.
The lowest card of all, by itself, is the
number of words he must count along that
line.
And if the card on the bottom of your
pack is the 2D, he will be looking at the
word “COFFEE”, or whatever the word
was you filled in.
Chalk this word on your slate, ask him
what it is, then turn the slate round.

QH TEN (or whatever your word is) Chapter headings should be ignored.

E SPIRIT
ARSW t K
B Y AL KORAN.
0 EFFECT:
Spectators examine a small leather case with a celluloid
“window”,and two perfectly clean visiting cards. One of the 4
-
cards is initialled by a spectator, after which the performer inserts
them both into the leather case . . the initialled card being covered
with the other.

153
 A card . . number . . etc., is chosen. 0 PRESENTATION:
Performer, withdrawing the plain card re-
veals that the spectator’s initialled card is Remove the leather case from your poc-
now covered with writing . . the name of ket, and withdraw the two cards held to-
the chosen playing card . . number etc. gether so as to retain in position the fake
celluloid which is behind them. Give the
0 PREPARATION: case for inspection.
While your audience is busy with the
Look at the illustrations . . it gives you a case . . remove the card from the bottom
complete picture of the . . . of the set up you hold in your hand, and
replace it on top. (Do this casually . . you
0 REQUIREMENTS: have plentyof time.)
A small leather (or plastic) case . . the Hold the two cards and the fake (which
sort used for Season Ticket or Identity Card
I‘
is now on the bottom) firmly between the
holders. An extra matching” piece of right thumb (on top) and first and second
celluloid and some thin white card cut to fingers (beneath). Pick up case with left
appropriate size. Beneath
the celluloid hand and hold it flat with window upper-
“window” put a piece of white card which most.
just fits the case nicely. Beneath this place Remark “As you can see, the cards just
the extra piece of celluloid (with the mes- fit nicely into thecase . . suiting theaction
”
sage written on it), and finally under this, to the words, slide the cards and the fake
a second piece of card. (See Figure 2.) back into the case . . and almost immediat-
ely bring outthe cards only. The case
(containing fake) is tossed casually aside
for a moment.
Now you hand out the two cards which
may be thoroughly examined. When the
spectators are satisfied, have one of them
write his initials on any one of the cards.
While he is doing this, pick up the other
card and insert it in the case (below the
L‘
window” celluloid, but above the fake).
Take theinitialled card and insert it (initial-
led side up) behind the othercard (actually
below the fake).
In this condition the case may be freely
handled, as all the spectators can see is a
plain white card showing throughthe
“window”.
The case is now laid aside until it is de-
sired to reveal the secret message.
Now have a card, number, etc., selected.
To reveal the message . . hold the case
so that the “window” faces the audience.
Slowly and impressively draw out the front
card only (one nearest window), so that it
slowly reveals the wording written on spec-
tator’s initialled card (actuallyon fake).
Figure 3.

154
 T h e routine I have originated isbased
in principle on Mr. Blake’s effect, namely
that the fakin,gof the items used is similar.
But in this. routine cigarette packets are
used and the actual presentation is differ-
ent.

0 EFFECT:
After thoroughly showing two cigarette
packets, each containing some cigarettes,
a coin vanishes from one and is discovered
in the other packet.

0 PREPARATION:
To prepare the trick, you require two
packets of cigarettes of one brand, say
Woodbines, and two packets of a rather
dearer brand,say Players. Packets con-
taining ten should be used. You only re-
quire the cigarettes from one packet of Remove the drawer of one packet and
each brand so smoke the other twenty; if cut the back off of the cover. This leaves
you don’t smoke it’s advisable not to at- a three-sided shell which is gluedas shown
tempt this part of the preparation! in Figure 2. Place this shell over the
. . cover of the packet to be used and press
I’ll describe the preparation of one pack- down the gluededges so that no double
et . . the other packet is faked in a similar edge is apparent. You will notice how a
way. pocket, open at the bottom end, is formed.

155
 Prepare the other cigarette packet in a
similar way.
Insert a half-penny into the pocket of
the cheaper brand cigarette packet and with
a similar coin in your pocket you are ready
to perform.
PERFORMANCE:
I suggest that this effect be
before asmall gathering of people, in a bar
for example.
Remove both packets and casually drop
them on the table with a half-penny. Tak-
ing up thePlayer’s packet push the drawer
of the packet up about aquarter-of-an-inch
and insert the coin between the drawer and
the cover proper, so that only a small por-
tion of the coin shows, Figure 1 .
Explain that you are going to strike the
drawer a hard blow and ask the audience
what they think will happen to the coin.
Whatever they say you demonstrate that
the coin will fly into the packet. Remove
the drawer and show that the coin is lying
on the cigarettes, thus you have casually
shown the complete packet. Place the
coin on the table and replace the drawer.
Now pick up the Woodbine packet with
the pocket towards you, pushout thedraw-
erful of cigarettes, tip them onto the table
and show the cover by holding it up and
pushing two fingers through. Replace
cigarettes in drawer and replace the cover;
you have now shown both boxes apparent-
ly devoid of preparation.
Explain to your audience that dear
cigarettes have a repellant effect on
“cheap” coins but cheaper brands of cigar-
ettesattract them. To showwhat you
mean, you take the half-penny and appar-
ently push it between the cover and drawer
of the Player packet as before, but this
time insert it into the pocket. Now when
the drawer is given a sharp rap the
coin dis-
1 56
appears into the pocket but it appears to
havethe
entered packet as before.
The Player’s packet isplaced onthe
table about 6 inches away from the Wood-
bine packet, both pockets towards you.
Make a mysterious pass from the Player’s
packet to ;he Woodbine packet. Pick up
Player’s packet, push out drawer of cigar-
ettes and show that coin has “vanished’.
Lift the cover and push two fingers through
before;
as then casually
replace drawer,
remembering to keep pocket end of packet
toward you.
Show hands empty as you pick up the
Woodbine packet with the right hand as in
Figure 3, the pocket should point left. The
right forefinger pushes the drawer out a
little way,then left hand comes up and
pulls the drawer out, as it does so the right
fingers and thumb squeeze the cover of the
packet and tip it downas in Figure 3.
This causes the half-penny to slide out onto
the cigaretttes, apparently the same coin
that vanished from the Player’s packet.
Here are few
a tips which make theeffect
easier to work.
1 -Remove the silver wrapping from in-
side the packets.
2-To make sure that thecoin does slide
outfrom the pocket of Woodbine
packet, I suggest that youwiden
mouth of same with a pencil, which
you push into the pocket and move
from side to side.
3-Should the coin still happen to stick
before completely leaving the pock-
et, bring the left thumb over and
rest it on protruding portion of coin
and with the left fingers under the
drawer, continue pulling out thecoin
with the drawer.
 “SHEER SILK” BY DOUGLAS FRANCIS
0 EFFECT:
In brief, performer takes a silk and pushing it through his closed
hand, changes it instantly intoa lady’s silk stocking.

0 METHOD:
The apparatusconsists of a silk stocking, the opening of whichis
permanently fastened around a short metal or cardboard tube,
Figure 1 . Acquaint yourself with the
exact way in which the stocking is folded,
rolled and inserted into thetube. This must
be done correctly as on this depends the
smooth and clean-cut action of the effect.
Refer now to the diagrams for the right
way to load the stocking. Lay the stock-
ing out full and flat on the table and fold
the foot over onto the leg at the point desig-
nated by the dotted line in Figure 1 . Now
fold the heel over as shown in Figure 2.
The result will be as in Figure .3. Now
fold the stocking in half down its entire
length as per dotted line in Figure 3. Re-
sult will be a long narrow strip as in Figure
4.
Roll this into a tight roll to within about
two inches of the tube (Figure 5). Stand
the tube on the open end, tuck the surplus 0
between it and the rolled stocking into the
D2 __ ___ ____-______-
----
tube, so that it forms a well inside the tube,
and follow by inserting the rolled stocking
as per Figure 6 . Push right into tube and
@ D3
-

@D
result will be as in Figure 7.
You are now read to perform. Place
-:‘.S
the prepared stocking in any handy pocket
-
from whichyou can obtain it secretly when
required. If you prefer, you could sus-
pend it in a clip just above the bottom edge
inside your jacket.
p i
O @
P ‘.:

0 WORKING:
Steal the stocking whilst removing a
silk from Your Pocket Or Picking it UP off a
table, start pushing silk into tube, allowing
the rolled stocking to emerge sufficiently
to permit the silk to be pushed entirely into
the tube. Give one final poke with the
i--_--*J
forefinger which pushes the silk well in . .
at the sameinstant, allow the stocking to
emerge completely when it will immediate-
ly unroll and appear in full view hanging
from the closed fist, silk safely hidden in
(Continued on page 1 64)

157
 by theLateCECILKEECH
l
IT MUST BE all of fifteen years ago whenl first climbed
the stairs to Harry’s old Studio in Wardour Street.
where the late Cecil Keech used to demonstrate the latest
effects. One can learn so much from the
experience of others and Cecil was a pro-
Needed are :-
fessionalmagician who had toured the
world and knew how toentertain with his (a) A piece of rope about forty inches
magic. He was a kind and understanding long. Atone end is one portion of a
person, always ready to help and advise press-stud.
anyone genuinely interested in the art and
l will always be grateful for themany (b) A short piece of rope about twelve
things he showed me. inches long.
A particularly entertaining effect is his (c) A third piece of rope approximat-
“SEEKAY TRICORDS”, which is a ely twenty-six inches long. At one end is
steamlined version of the “Three in One” attached the other portion of the press-stud.
rope effect.Cecil featured the effect pro-
fessionally and eliminated all suspicious A neat job can be made of attaching each
moves; no knot-tying, knot slipping, etc. portion of the press-stud to the ends of the
. . . and there is nothing to get rid of at the rope, by first lightly stitching them on.
finish.
is
It clean, snappyand very Next stick a small piece of tissue paper
mystifying. completely over thestudand carry the
edges over the rope. Tie the edges of the
@ EFFECT: paper to the rope by winding a piece of
white cotton round the paper and rope,
The performer shows three pieces of then trim off the surplus paper. Apply a
rope. He makes them into three loops thin coat of white flat paint to the paper
which he throws into the air, when they and allow to dry.
immediately form one complete length of
rope. The tissue paper will notprevent the
two portions of stud from snapping
@ REQUIREMENTS: together.

The following preparation is necessary Fold the longest rope in half and loop
but it is simple and once carried out, the set the smallest piece through it asin Figure 1 .
of ropes can be used again and again.. Hold the other piece of rope alongside in

1 58
thelefthandas in Figure 1 . Note that
there is a portion of press-stud at the top of
the rope on the right and the other portion
on the bottom of the rope in the centre.

To hold everything in place, a loose knot

can be tied in the three ropes at the “busi-
ness” end.

0 PERFORMANCE:
Pick up the ropes, untie the knot and
hold in the left hand as in Figure l . To stud
the audience you appear to be holding three
pieces of rope. To emphasise this fact,
you resort to a false count and the method
is absolutely convincing. Proceed asfol-
lows.

With the finger and thumb of the right

hand, takehold of the topof the single rope
and pull it straight up out of hand (Figure
2), count “ONE”. Bringthe hands to-
gether again, when thedouble rope is grip-
ped between the first and second fingers of
the right hand. A t thesame time, the
single rope is caught by theleft thumb and
retained in the left hand whilst the double
rope is pulled clear of the left hand-count
“TWO”. Again the right hand approach-
es the left andthe single rope is pulled clear
away-count “THREE”. Always pull
the ropes upwards out of the left hand.
This false count requires very little practice
and when mastered is most convincing.
Replace the ropes in the left hand, holding
them again as shown in Figure 1 .

Slide the right hand down the ropes and

feel for the press-stud at the end of the
double rope. Bring this end up and over
the back of the left hand andgrip the press-
stud between the first and second fingers
(Figure 3 ) . You now appear to have one
loop of rope and two straight pieces. Pull
the single piece of rope u p out of the left
hand and holding it in the right, remark:
‘ I
One loop of rope and two straightpieces”.
Holding this single piece of rope at the
press-stud end, place it again in the left
159
hand, pressing the stud into the fastener
held in the fingers of the left hand and bring
the bottom end up over the back of the left
hand, holding it there. You now appear
to be holding two loops of rope and one
straight piece.
Take the bottom end of the last piece of
rope (which of course is one end of the
“double” rope), bring it up and without
releasing it, grip one of the two ends of the
short piece of rope in the left hand. It
does not matter which end you grip. The
rope is now thrown into the air, retaining
hold of one endwith the right hand. Figure
4 shows how the two ends are gripped to-
gether so as to appear as one long length
of rope. To prove the solidity of the rope,
pull on it with both hands but only pull be-
tween theendand the press-stud joint.
You can feel this joint when sliding the
hand along the rope. Gather up the rope
in folds and place it away on your table,
when the short“fake” piece will be hidden
in the folds.
0 SUGGESTED PATTER:
“You’ve heard of the Indian rope trick?
Well, this is the Chinese rope trick shown
to me by an old Chinese conjuror named
Hung-Wun.He had a brother, he was
Hung-Too. He took three single pieces of
rope, ONE, TWO, THREE. Takingthe
first piece of rope, he made a loop of it so
that he had one loop and two straight piec-
es. Taking a second piece, he made an-
other loop, so now he had two loops and
one straight piece. Finally, taking the
last piece, he made a third loop. Then he
fiddled about for about twenty-five min-
utes and when he’d finished, he had one
length of rope (throw rope) and I’m still
trying to figure outhow the old fellow
did it.”

THE SUCCESSFUL
OPERATION
OF A TRIPLET
THREE ORDINARY SAFETY-PINS are used.
It is recommended, though not exactly neces-
sary, to take some of the spring out of the pins, by
pressing the sharp ends of the pins past the
heads. “A” is held firmlyin position by exercising
pressure on the two points marked with
One of the spectators is asked to open crosses with thumb and first finger. Now
one of the pins and then to pass the sharp take a look at the way the other two pins
end of this pin through the curls of the are hanging on thepin-end of the first pin.
other pins. The original pin is then closed The head “D” of the hanging pin nearest
again. the left hand is gripped between thumb and
first finger of the right hand.
Performer now holds the original pin by
the curl-end of this pin in the position of Pin “D” is now sharply pulled in a
the accompanying sketch. This curl-end downward direction.

1 60
 The effect is simply that a silk, which is
knotted on a piece of rope, is pulled free
C E from the rope with the knot still intact.

The sketch will make the working clear.

The silk ( 1 ) with an ordinary knot in the

middle, is brought behind the rope and end
B (2) is brought through the bight C of
the original knot. While the rope isheld
taut, end B is pulled tight. The result
will be Figure 3, which is the reverse side
of Figure 2.

If the partof the silk, marked D in sketch

3, is pulled, the silkwillcome free from
the rope with the knot still unimpaired.
What happens is the following: Pin
“B” opens, throws away pin “EF”, re-
leasespin “CD” and then closes again.
All the pins are free of each other and
closed. -Performer at once releaseshis
two pins, which fall on the table or on the
ground.

The trick takes some practising, but is

not very difficult and ten minutes for try-
ing out, will in most cases be sufficient.

The trick can be made more showy, by

attaching three different coloured narrow
ribbons tothe different pinheads. The
other ends of the ribbons can be held by
different spectators. This has the addi-
tional advantage, that there is no need to
seek for the jumping pin. The ribbons
make no difference at all to the execution
of the trick.

SILK FROM ROPE

The effectwhich I am going to describe,
comes from the brain of Dr.C.van Wierin-
gen, a well-known and enthusiastic Dutch
amateur.

I61
 The performer displays sixteen numbers attached to his
fingertips by means of small tubes and has a number thought
of from the sixteen.
Performer then asks one question, viz: “On which hand,
back or front, do you see your number?”. When given the
answer, the performer discloses the thought of number.
0 REQUIREMENTS: tube (see Figure 1 ) and number the four
tubes as shown in Figures 1 , 2, 3 and 4.
Obtain four strips of stiffish paper, then You will notice there are two complete sets
fashion each strip into four tubes by stick- -Figures 1 and 2 are set One and Figures
ing it down at intervals. The tubes should 3 and 4 setTwo, so keep the two sets
be of such a size that theywill slip onto the separate.. (A good wayto numberthe
first joint of eachfinger.You now glue tubes is to cut small numbers from a calen-
a small piece of thin card to sides of each dar and stick them ontothe little plat-
forms.)
0 METHOD:
Mentally think of the back of the left
hand as “One”, the front of the left hand
as “Two”, the back of the right hand as
“Three” and the front orpalm of the right
3 . slde hand as “Four”.That is all you require
to keep in mind.
4.
0 . TO PRESENT:
L Slip the tube shown inFigure 1 onto your
left fingers, the hand being back up and
tube “ 1-1 0” being on the little finger.
Slip the tube shown in Figure 2 onto the
right fingers, the hand being back up and
the forefinger going into tube numbered
.‘
3-9”.
Ask your helper which hand he wants,
then ask him if he wants the back or the
front of the chosen hand. When he has
decided, tell him to think of one of the four
numbers. If he has chosen the back of the
left hand, you keep No. 1 in mind, if the
palm of the left hand, keep No. 2 in mind,
if the back of the right hand, keep No. 3
in mind, and if the palm of the right hand,
keep No. 4 in mind. After a number has
been thought of, you discard the two tubes
of numbers and replace with set NO.TWO.

1 62
 Put thetube shown in Figure 3 onto
your left hand,this hand beingback up and
your forefinger going into the tube num-
bered “4-16”. Put theothertubeonto
your right fingers, the hand being back up
andyour forefinger going intothetube
numbered “5-9” (see Fig. 4). You now
show each set of numbers and say, “Do you
seeyour number here?”. When he says
“Yes”, it will be the number counting from
your left at the position of the mentally
retained number. For instance, if he
thought of number ‘‘ 1 2”, you will have
No. 3 in mind, so it will be No. 3 from your
left when you ask on which set he sees his
number. If he thought of number 14, you
will have No. 2 in your mind, so when he
says he sees his number it will be No. 2
from your left. You always countfrom
your left, whether the hand be back up or
palm up.Figure 5 showshowthetubes
fit the fingers.

“ OYER THE RAINBOW ”

BY DOUGLAS FRANCIS

coloured ribbons (and bells) attached and

0 REQUIREMENTS: hand one of each colour to each assistant.
A gaily coloured wand, 6 rings, to each That is, a set of three to each. Now ask
of which is attached a coloured ribbon . . them to decide on one of the colours be-
two each three different colours. Two tween them. Have them thread the other
long coloured cords. two colours on their respective ends of the
To make it showier and noisier to the cords, letting them slide down to the knot
end of each ribbon you can sew a small aroundthewand,Figure 3. Now take
brass bell (the kind they use on animal one cord from each helper and tie a knot
collars). over them. Hand theends back to each
spectator,however, givingeachtheend
0 PERFORMANCE: previously held by the other. Finally, have
them thread on the rings of the selected
Get a boy and a girl to help you. In- colour, on both cords as before (Figure 4 ) ,
struct one to hold the gaily coloured wand and bring them to the centre.
by one hand. You now take the two cords
and drape them centrally over the wand Grasp the end of the wand in one hand
(Figure 1 ) , you then apparently tie them and all the ribbons, except those of the
onto the wand with a single knot. How- selected colour in theother. Withdraw
ever, this knot is made by taking the two the wand smartly, instructing the spectators
ends of one cord in each hand, and then to pull on the cords at the same time. The
tying the knot(Figure Two). The ends rings, ribbons of which you hold, will come
of the cords are now held by the two spec- clear away and the cords will be stretched
tators. straight out between the two youngsters
with the two rings of the selected colour
Introduce thesix rings with thedifferent still threaded securely thereon!

163
 Figure 1 shows how the second finger of
the left hand (holding the wand) separates
the two cords draped over the wand. Fig-
ure 2 shows clearly how the two ends of
one cord are passed behind the two ends
of the other cord : . and then through the
loop to form the fake knot. In effect, the
movements are quitesimple, being identic-
al with those which would be made if the
cords were genuinely tied to the wand.
The all-important difference is that two
ends of the same Cord are heldineach
hand.

With the fake knot securely tied, have

n a third spectator select a colour, while the
other two spectators each hold the ends of
'

two cords (really the same cord). You

now thread onto thecords on each side, one
ring of each of the colours not chosen (Fig-
ure 3).

Now,in order to make sure that they

are really securely fastened take one cord
from each spectator, tie another knot with
them, and hand back to your assistants, the
opposite end to that which you took from
them. In Figure 4 one cordis shown as
Black so that you may easily see how each
cord is on one side of the wand before this
final knot is tied.It shows also, how the
effect of this knot is to place in the
hands of each spectator one end of each
cord. Nowplace one of the chosen rings
oneach end. (Figure 4.)

(Sheer Silk--continued from page 1 57)-

the tube. That baldly is the working. 1 . In the 20th Century effect, instead
However, to present the effect properly, a of vanishing the silk, change it intothe
little misdirection must be injected into it, stocking.
to cover the steal of the stocking. In my
act, I steal it when making a one-hand knot 2. A nice straight-forward way to
in the silk. This is excellent misdirection workthe effectis as follows. Havethe
as all eyes are centred on the handin action silk tucked into breast pocket with stocking
and the steal is a very simple matter. just behind it. Remove silk and stocking
Now for two or three ways in which this together. Draw silk through hand once
item maybe used.Itwill inject a nice or twice effecting a change-over with the
little touch of comedy into many standard stocking, to showboth hands empty whilst
effects. so doing. Finish as usual.

1 64
 - - -
REVIEW - - - - -
HARRY STANLEY

PUNCH
DRUNK BRAMAH
from the recent convention activities, I’ve was the chap who really caught my eye
recovered sufficiently to give youa few (probably because I had never seen him
impressions. First, was the shindig at before).This French boy is a beautiful
Liege, in Belgium . . . “
mover” (perhaps a little too “beautiful”
for some staid tastes). A polished, pro-
CONGRESINTERNATIONALDELA fessional act, full of good things to catch
MAGIE the layman’s eye, including the continuous
with 1 10 competition entries, it presented production (a la Channing Pollock) of long
quite a problem to the organisers . . . one strings of Beads and Brilliants. Terrific
they neverreally solved and with the “time work with large “coins” which, later
table” going a bit haywire at times, it gave thrown into the air, were caught in rapid
those, so inclined, plenty to “beef” about. succession, with theskill of a top-class jug-
For my part, the upsets were trivial things gler. Manipulation with large Diamente
and it didn’t spoil our enjoyment one bit. Balls (the mostsparkling I haveever
We re-met old friends . . made lots of new seen). Finally, the jewels were put into
ones . . saw plentyof good magic . . walked a Casket which, being covered with acloth,
away from lots of bad magic . . found plea- was made to vanish in regulation style.
sure in the company of our fellow magi- The whole act was presentedwithsuch
cians and if things weren’t laid on for us dash and artistry that it brought the audi-
ready made . . we made it ourselves. enceto their feetto give him a great
ovation. He won First Prize for “Man-
THE VENUE. ipulation”.
Palais Des Congresis a wonderful build-
ing . . with three theatres, seating respec- A BOOKING AGENT
tively 200, 500 and 1,000. Situated
on the banksof the River Meuse, the over- viewing these two outstanding acts would,
looking lounges and rest rooms, beautifully if he had to choose, book Bramah, in my
furnished, provided havens of escape for opinion.Fred aimed his actto please
those wanting respite fromthe magical magicians . . he is the “magicians’ magi-
marathon. The manyrestaurants gave cian”
‘L
par excellence . . Bramah is strictly
full service all day up to a late hour. commercial”. With slight re-arrange-
ment, his act could be the most stylish since
GLUTTONS FORPUNISHMENT. Channing Pollock’s . . I cannot give it high-
It won’t surprise you to know that the er praise.
“500” theatre was filled from morning to
night, each and every day,with “watchers” MARCONICK
and competitors ! deservedly won First Prize, “General
Magic” class . . a nice colourful act which,
FRED KAPS with a few alterations, can be his best yet
was judged to be the winnerof “The Grand . . and that’s saying something,for when it
P&” (for the third time) . . the act being comes to Silk Magic, he is in a class of his
a mixture of his normal professional show own.We hadquitea discussion about
and some “new bits”, including the con- this new act . . I think it will have donehim
tinuousproduction of Lit Candles, with some good.
Candelabra production climax, followed by
a fast and excitingproduction of dollar RON McMIUAN
bills. A deservedly popularwinner. who gave his very first stage show at one of

165
my “Unique Conventions”some years ago, back” tricks we had previously sent them . .
came second in the “Manipulation” class. in order to have something to sell on the
Considering the very stiff opposition of the last day. “Five StarMiracle” - “Chase
Continental stars, he did exceedingly well. The Ace” - “Unique Diminishing Cards”
He has thetechnical equipment to reach the - “My Drink Trick” - “Gypsy Beads”
highest class. I hope thatour many dis- . . “Masterpiece” . . “HotPaper”
cussions, coupled with his first real view of - “Untying Knots - “FantasticFour”
Continental showmanship, will help him - “Reels” and our NewFanning Cards,
on his way. He deserves it, for he works being particular favourites. There is no
hard and is modest and gentlemanly. question, “Unique Magic” has “UniversaI
PIET
FORTON appeal” because it is effective and practical
CEN subscriber for many years, from entertainment.
Switzerland, whom I have seen “grow up” MY DEALERS’
“WALK-ROUND”
from schoolboy days, won First Prize in the came as abit of a shock, for so many items
“Card Section” of the “Close-up” com- from our catalogue were on sale there . .
petition. He delighted all with hisfine without my permission, of course. When
technique and good (but slightly involved) I asked one chape where he got permission
routine. If he can drag himself away to make up ourstuff . . he replied, blandly,
L‘
from the starry-eyed-what’s-the-latest- “Oh, everyone here makes up your magic
sleight-merchants’’ and concentrate more . . why pick on me!” What a jungle this
on the presentation of the fine tricks he magic business is turning into . . !
already knows, he will become a top-class
card entertainer.
FILM SHOW .
held in the 1,000 seater” theatre, broke
“

THE GALA SHOW the record for punctuality . . only ten min-
started onemidnight and went on seeming- utes late in starting! Rene Jadot provided
ly for hours. Played in a huge cinema it some excellent films in Black and White . .
was mainly notable for a perfectly shock- magical snippets, taken from Belgian News
ing orchestra . . Bramah’s act (much better Reels (Belgavox). Our own “Unique
than his competition effort),and Ken’s ColourFilms” caused much excited com-
frequent dig in my ribs, trying to keep me ment and produced frequent spontaneous
awake . . he had only modest success. outbursts of applause. Secretaries of
MENTION OF KEN nearly every European Society later insist-
reminds me (as if I needed it) that he was ed on me trying to find ways and means of
in the opinion of all, the best close-up showing them to their members. Any
entertainer at the convention. Demon- future “disappearances” of mine will prob-
strating on our stand, he baffled the pants ably be due to continental film trips!
off them ; while during his “off duty” times A REVOLUTION
he had them in fits with his antics . . and if was staged when the dealers saw the pro-
you think that’s easy, when the audience gramme . . it was so overloaded with com-
comprises of Belgian, French,German, ‘L
petitions and other attractions” the only
Italian, Bulgarian, Swiss, Portuguese, ‘6
arranged” time was a “dealers’ show” on
Austrian, Spanish, Danish, Swedish, Czech the first night . . So in protest, we went on
and Norwegian magicians . . . when his “strike” and there was no “official dealers
trois” . . . show” . . Instead we demonstrated on our
“
language limit is un,deux,
you try it sometime ! I’m ahardy old stands, with on-the-spot selling, which suit-
continental traveller . . I can count up to ed us, and theconventioneers much better!
ten . . so it was easier for me! The dealers throughout the congress had
A COMPLETE SELL-OUT to hang around odd and long hours to do
of our magic, caused me to take a walk their business . . pretty shabby treatment
“
aroundthe dealers’ stands, borrowing to folk who add so much to any convention.

1 66
 HATS OFF
G. Muller . .
to “organisers” President W. The compere (not Harold)of the “After
. .
ClaudeIsbecque . Rene Jadot . Hank Banquet Show” spoiled a fine show with
..
Vermeyden Guy Lammertyn and their “doubtful” material. To me this sort of
helpers, who had a job that shouldn’t be
wished on a dog. Also the Competition
Jury . . . . how they stuck it out through
that lot of competitors, I don’t know . . they
deserved a medal.
LAST LAUGH.
Two coach loads went off to the “Civic
Reception” . . but they went separate
ways.
It was only while “Magic Circle” President
Francis Whitewas replying to the “Speech
of Welcome” it was discovered that they
were in the wrong place . . the “welcome
speech’ wasfor another body of people!
NO SOONER BACK
we had to re-pack our bags and get off to
Harrogate for the British Ring’s
25th ANNUAL CONVENTION.
Apart from a few minor things . . this
..
was the “best yet” grand friendly atmos-
phere . . Competition-standard above aver-
age . . and a really cracking Gala Show.
AMERICAN VISITORS
WalterCummings and Jerry Andrus de-
lighted all with their skill. Mystic Craig’s
colour film of Bro.Hamman gave us a
chance toseethe work of this popular
card man.WalterandJerrywerekept
busy giving lectures and both did well on
THE
GALA
SHOW
which Harold Taylor compered in his usual
bright and breezy way. The Czech
artistes, Trnka-Vondracek and the Maza-
kians, had the most refreshing presenta-
tions. Nic and Bob Niberco from Holland,
polished professionals . . 1960 Shield Win-
ner Larry Spencer . . manipulated in good
style. Claude Rix and Marie, fine presen-
tation of “Thruthe Eye of a Needle”
illusion . . “Helga and Horst Muller” from
Germany ran through a few liquid tricks
. . Jeffrey Atkins, immaculate aFpearance
and fine presence, showed three illusions
. . a pleasure to watch. And, as so often
happens, a non-magical act “stole the bill”
. . a lad by thename of Bruce Allan, mimed
brilliantly . . heis terrific. Rememberhis
name . . he MUST go places.
BEEF.
A
thing is the last resort of the untalented ..
and the pity of it is that this lad possesses
talent. Anotherthing is cracking “gags”
about the Mayor who was present on this
occasion. At anotherconvention some
time ago, I sat in agony while a magician,
having invited the Mayor (a lady on this
occasion), to actas assistant, subjected her
to indignities one shouldn’t inflict an any
member of an audience, let alone the lead-
ing representative of the local citizens.
I look forward to the day when conven-
tion committees get “tough” aboutthis sort
of thing . . it doesn’t do magic any good . .
or am I old fashioned?
ANOTHER BEEF.
When is the convention committee
going to make u p its mind as to
whethertheywanttohavethe dealers
If so . . . why don’t
there or not?
they allot a proper time each day, say
a couple of hours, when conventioneers
can walk round the exhibition, see the de-
monstrations and make their purchases in
comfort . . and not be distracted from this
by having“otherattractions” offered in
opposition. Practically theonly time al-
lowed dealers at this convention was on the
second day . . when a “mammoth demon-
stration” was programmed to commence at
9.45 in the morning . . with fourteen deal-
ers participating . . ten minutes each!
“Running order” was decided by ballot
. . but, 1-2 and 3 were not readv (or will-
ing) to go on, so number 4 had to “bat”
first. Considering all the circumstances,
I refused to go on, as a protest against the
whole thing. As far as the dealers are
concerned theentiremorning (the only
free one) was a waste of time. The con-
ventioneers would have been better served
by going round the stands and seeing the
demonstrations on the spot. I am glad to
say that, asin the case of Liege, other deal-
ers coming roundto mvway of think-
ing, didn’t go on. It is a mystery
to me how business men (who make up
167
the committee) expect other business men show “You asked for it”. Fortunately it
to work under such poor conditions . . I was possible to arrange for a showing at
am jolly sure that theywould not standfor Harrogate, and provided one of the high-
it in their own business. lights of the week.

THINGS
ARECOMPLICATED IT WAS QUITE
WONDERFUL
by the anxiety of organisers to put onbig- tosee and hear(actual voices) of great
ger, betterand more and more “attrac- magicians no longer with>us. . like Dante
tions”. So, quiteapartfromwantingto (Backstage illusion) . . ArthurBuckley
see the dealers, conventioneersspend (the Coin expert . . who died the day after
every minute of their time rushing from his T.V. appearance) . .Irby (escapologist,
one thing to another . . a most exhausting using the tiny Howard Brooks Trunk . . it
business . . and I doubt whether they gain was quite a magical feat to get into the
anything byit . . the more they see, the less thing, letalone get out of it!). Houdini
they “remember”. (silent extract from “Terror Island” made
over 40 years ago) and Dice Expert Paul
I MUST CONFESS Ebling (maskedin this show because of
that despite poor working conditions, we gangsterannoyanceat his exposure of
broke all records . . our sales being higher cheating methods). Seeing these past-
thanonany otherpreviousconvention. masters gave the older chaps a sentimental
This was achieved by our having to hang thrill and the youngstersan opportunity to
aroundworkingunearthlyhours . . and see artistes who flourished in the greatdays
having several outstanding of magic . . when one could go tothe
theatre and see a full evening magic show.
CONVENTION SUCCESSES. We also saw the complete acts of Frakson
As in Liege . . “Five Star Miracle” was a (famed Spanish cigarette manipulator, and
riot, so were “‘Chasethe Ace” ... New great artiste), the Great Blackstone(Buzz-
“Super Fanning Cards” .. “Super Dimin- Sawing his daughter in half), Peter God-
ishing Cards” . . our new printed book . . frey (Dizzy Limit Illusion), KudaBux
“Reelistic Magic” and a “dark horse” . . (great X-Ray Eyes act), George Pal and
Dr. Jaks “Masterpiece”. Film Star Tony Curtis (in snippets from
the
Paramount Film “Houdini” and
I MUST LEAVE SPACE the
popularyoung illusionist Aubrey
to tell you about myfriend George Boston doing a fine Floating Lady and in another
who deservedly graces our cover this film, in response to a viewer who insisted ‘6

month.JustbeforeleavingforHarro- that magicians had to use sleeves and

gate,he’phonedtosaythat he was in secret pockets”, did an entire act clad only
Europeon his honeymoon andthat he in a bathing costume! Fortunately, Aubrey
wantedto get tothe convention. We is not only a fine magician . . he also is
arranged to travel together, and at Kings good-looking and possesses a fine figure ! !
Cross, was introduced to his lovely bride,
the former Netta Surplice. We were join- I’M WARNING YOU
ed by June Merlin (Billy McComb’s better George, I’m going to nag you and nag you
half) and sonSheron (he has the old man’s until you can find ways and means tokeep
sense of humour) and cunningly seating your promise to let me have some of these
the ladies together,Georgeand I had a wonderful films to show to the boys here
grand natter about old times! I was thril- on a country-wide tour, it will do them . .
led to hearthat his baggage included a and magic an awful lot of good.
couple of reels from his wonderful library All the best,
of complete acts of famous magicians . .
actual kinescopes from the American T.V. HARRY.
1 68
 0 A GREAT DEAL OF EXCITEMENT was caused at Liege and Harro-
gate Conventions by the demonstration of our

INSTANTANEOUS UNTYING OF KNOTS

This was another SELL-OUT! And, rightly so, for it isterrific magic and
comedy !
TWO HANDKERCHIEFS are knotted together by their corners . . the knots arepulled really tight.
.
YET . just by covering the knots with another corner of t h e handkerchief . . they are dissolved, &p-
parently by magic . . in an instant. The two hanks. are re-tied once again . . the knots being pulled
even tighter thanbefore . . but . . theyare “dissolved” justaseasily!Nexttime, you allow t h e
SPECTATOR to tie the knot, and on top of this he ties Another knot and ANOTHER . . Yet, YOU
“dissolve” them just as easily as before!!
KEN BROOKE hit on a simple idea which “makes life easy for you” in the performance of this
great trick and we include it in the instructions PLUS.. TWO Special eighteen inch Nylon Hand-
..
kerchiefs, which are just right for the effect which ca.n be done ANYTIME . . ANYWHERE.

Price lo/- U.S.A. $2.00.

0 THIS WENT LIKE HOT CAKES IN LIEGE AND HARROGATE ...

EDDIE JOSEPH’S
“ HOT PAPER”
A Great “impromptu” trick . . and a great “reputation maker”.
You borrow a piece of silver paper (from cigarette packet, etc.), and ask
spectator to tear it in half and to freely choose either half. His chosen piece is
screwed into a small ball, which he holds in the palm of his hand. You tell him
that your powers of “suggestion” will make him imagine the paper getting warm
.
. . then hot. then Hotter and HOTTER until it is too hot for him to hold . . and
it does, too! Ready to use anytime - anywhere.
Price - 5/-

.
0 JUST PUBLISHED . and acclaimed a “WINNER” already . . for it opens
WHOLE NEW WORLD OF MAGIC FOR YOU - -
up a

REE LISTIC MAGIC

..
A new Fifty-Six pp Printed Book illustrated with plenty of Photographs
and Line Drawings. A great collection of Tricks -
Stunts - “Bits of Busin-
ess” . . including - -
Visible Silk Penetrations - Visible Tying and Untying Silks - Card and
Cigarette Rising - and many other Tricks with Ropes - Treasury Notes -
Cards and Silks.
“REELISTIC MAGIC” opens up for you a tremendous field of Interesting
and Exciting Magic . . that’s Easy to Do. . but WONDERFULLY EFFECTIVE!

/I1 Price 7/6 U.S.A $1S O .

1 69
 0 OUTSTANDING CONVENTION SUCCESS . . .
Advertisedinourcurrentcatalogue, this has NOT beenagreatseller“bypost” . . the BRIL-
LIANCE of the effect b e h g very difficult to convey in .
PRINT . so lots of chaps “passed it by”.
BUT
.
DEMONSTRATING it at the recent conventions . theboyswereliterally STUNNED . . andboth at
.
Liege andHarrogate . we SOLD OUT COMPLETELY . . SO GOOD 1s

Dr. STANLEY JAKS’

”MASTERPIECE”
The effect briefly is . . you give a pack of cards to a spectator and state thatin
the pack, One card is Reversed s o it can be unmistakably identified later. A Seal
is placed on the card box and spectator initials it as further protection against
any possible “monkey business” . . he puts it in his pocket. Another spectator
is given another pack, which he first satisfies himself, is perfectly normal . . .
Every Card being different . . then he shuffles them to his heart’s content. He
now spreads them out face downwards and pushes out ANY ONE of the cards.
.
Absolutely no Force. Please remember . All this time . . You do not touch the
cards . . the Spectatordoes everything himself ..
you cannot evensee the face of
the cards !
Now . . taking the “sealed” pack from the first man, the cards are removed
from their case and running them through, FACES to audience, it is seen that
One card is Reversed. It is laid face down alongside the other spectator’s card.
He is asked to turn over his card . . and for the first time, call out its name . . he
does so. He is then invited to turn over the “reversed” card . . it matches per-
fectly.
UNQUESTIONABLY one of the most sensational feats in Magic . . yet . .
thanks to the TWO wonderful packs we give you with this trick Plus Dr. Jaks’
Routine . . it is So Easy to D o ..
It can be performed a few minutes after receiv-
ing it!! ALSO . . these great packs can beused for dozens of other effects.
We give other tricks and suggestions in the instruction leaflets. This represents
Really Great Value .. ..
so, if you like Really Good Magic Don’t miss this one!
Price 25/- U.S.A. $5.00.
NOTE: Wenowhave NEW STOCK andwillsend it by GUARANTEEDRETURN OF POST.

0 ANOTHER GREAT CONVENTION BEST SELLER !

” FANTASTIC FOUR ”

YES! It’s another “4 Ace Routine” . . but what a beauty . . this isin the
miracle” class! The complete routine consists of THREE effects . . but, each
46

one can be performed independently, if desired. We supply some special fake

cards . . you useyourown pack. Routine enables you to finish “CLEAN”.
Very Easy to DO. The Conventioneers loved this one. . so will YOU!
Price - 5/-

i
i
MUSICAL KEY CHAIN
!
Just the job for Frederica’s remarkable S P I R I T U N E
1
1

Price - E3/3/-
~
-

1 70
 0 G R E A TC O N V E N T I O NS U C C E S S !
At both the “International” in Liege and the ‘‘British Ring” at Harrogate,
conventioneer’s acclaimed these as “THE BEST YET”.

UNIQUE

SUPER
FANNING
CARDS
FOR THE FIRST TIME EVER IN THIS COUNTRY
.
FANNING CARDS.. PRINTED ON REAL PLAYING CARD STOCK ..
EXCLUSIVELY FOR US. . BY THE COUNTRY’S LEADING PLAYING
CARD MANUFACTURERS.
The Backs have a BoldModernDesign created specially for “fanning”. The
Colours are Brilliant - Red - Blue - Black - White and Yellow.
You can get many beautiful combinations, designs which blend into lovely
patterns of ever-changing Colour.

1 Suitable for showing to large audiences, equally effective for Drawing Room.
The faces have the Normal “Spots” and “Courts” . . also included is an Ex-
tra Blank-face Card, which enables you to start the routine by first showing that
the pack consists of just White cards with No Faces. You remark: “Someone
must have forgotten to print them . . solet’s do it by magic”. Showing them
once again, they now all have perfectly . . .printed faces . . each and every card!

This makes asplendid “opener” for the fanning routine . . and is described in
the well illustrated instructions we give with each pack.

1 CARD FANNING is POPULAR with EVERY type of audience . . “Young”

. . “Old” . . “Normal” or “Sophisticated”. It gives the onlooker the impression
that you are tremendously skilful with cards . . Little do theysuspect that it real-
ly is Very Easy to Do . . in fact . . a few minutes after receiving your outfit,
you will be able to make Beautifully Patterned Fans of Cards!

Price 12/6 U.S.A. $2.00.

 FANTASTIC

MULTIPLYING
BOTTLES
THE
SUPER PRODUCTION
OF

NINE

A Large Bottle and Glass each covered with an Empty Tube . . mysteriously
change places! The effect is repeated,but to everyones surprise, another bottle
appears . . then another and another and so on until

NINE
LARGE BOTTLES AREPRODUCED !!!
Quite an astonishing sight. . one that is Guaranteed to produce Spontaneous
applause from the most “hard-baked” audience!
Lq$
Used by the “stars” with Great -P
1.11
Success ...
A success that can be repeated by
-YOU !

Made by a master-craftsman
to the Finest Unique Standard.

VERY EASY TO DO . . the

Routine by KEN BROOKE . . is
a honey!

Price S 1 2 U.S.A. $40.00.

c
 ..... VERY VERY GOOD INDEED ! gLUE
out of this, because not only is this routine BRILLIANT . . you can
afterwards use the apparatus for dozens of other tricks !!

Dr. STANLEY
JAKS’
“MASTERPIECE”
.
The effect briefly is . you give a pack of cards to a SPECTATOR
and state that in the pack, ONE card is REVERSED so it can be
UNMISTAKABLY identified later. A SEAL is placed on the card box
End spectator INITIALS it as further protection against any possible
monkey business” .. he puts it in his pocket. ANOTHER spectator
is given ANOTHER pack, which he first satisfies himself, is perfectly
NORMAL .. EVERYCARDBEINGDIFFERENT . . then H E
SHUFFLES them to his heart’s content. He now spreads them out
face DOWNWARDS and pushes out ANY ONE of the cards. ABSO-
LUTELY NO FORCE. PLEASE remember. . ALL this time . . YOU
.
DO NOT TOUCH T H E CARDS . t h e SPECTATOR DOES EVERY-
THING HIMSELF . . YOU cannot even see the FACE of the cards!
Now, taking the “sealed” pack from the first man, the cards are removed from their case and run-
ning them through, FACES to audience, it is seen that ONE card is REVERSED. It is laidFACE
down alongside the other spectator’s card. He is asked to turn over H I S CARD . . and for the FIRST
TIME, CALL OUT ITS NAME .. h e does so. He is then invited to turn over the “reversed” card ..
IT MATCHES PERFECTLY!!
UNQUESTIONABLY one of the most sensational feats in Magic . . yet ..
thanks to the TWO wonderful packs we give you with this trick Plus Dr. Jaks’
Routine . . it is So Easy to Do ..
It can be performed a few minutes afterreceiv-
ing it!! ALSO . . these great packs can beused for dozens of other effects.
We give other tricks and suggestions in the instruction leaflets. This represents
Really Great Value ..
so, if you like Really Good Magic , Don’t miss this one! .
Price 25/- U.S.A. $5.00.
- ~ ~ ~~~~~

ANOTHER GREAT CONVENTION BEST

SELLER !
“ FANTASTIC FOUR “

YES! It’s another “4 Ace Routine” . . but what a beauty . . this isin the
miracle” class! The complete routine consists of THREE effects . . but, each
66

one can be performed independently, if desired. We supply some special fake

cards . . you use your own pack. Routine enables you to finish “CLEAN”.
Very Easy to DO. The Conventioneers loved this one . . so will YOU!
Price - 5/-

EYE-SPY
A pack of cards is thoroughly SHUFFLED by SPECTATOR . ..
making it obvious that you CANNOT possibly Know the ORDER
of the cards. They .
are placed in a box. Saying . “ I Spywith
my little Eye” you look through a CLEAR PLASTIC ROD (solid)
towards the box and call out the name af a card . . then another
and another. SPECTATOR opens the box,removes the top three
.
cards . you areRIGHT. You give himyour“magic eye”rod.
.
He puts it to his eye, say’s . “I Spy with my little Eye” but.. ..
.
he looks puzzled . “What’sup?” you ask. H e replies “I can
see NOTHING!” HE opms the box, takes out top card . . it is
BLANK!. GOOD MYSTERY ..
GOOD FUN ..
NO SLEIGHTS
. . DO ITRIGHT AWAY. Completewith nice Card Box (Red
Leather Top, tastefully ornamented with Gold Scrolls),Plastic
Rod, Blank Cards & full instructions. Use your own pack of cards.

11 Price 12/6 (postage 1/-) U.S.A. $2.50.

 0 0 0

BEFORE HANDING OVER completely to our good friend

Faucett Ross, we would like t o link his name with another good
friend, Bill Simon, andthankthembothmostsincerelyfor
enabling THE NEW YORK GEN t o become reality. Strangely
enough i t all began many hundreds of milesfrom New York,
in St. Joseph where Dai Vernon and Faucett had got together
t o record the material for t h e book on Max Malini. They talked
over the possibility of compilinga completeGENfromthe
magicians of New York, and Bill Simon was the obvious choice
for getting it “laidon”. Bill gotto work, collected the fine magic which is now yours,sentit on t o
Faucett for a spot of approval and editing and here it is.
TO Bill, Faucett, Dai and all the contributors from New York-many, many thanks-but now over t o Faucett.
LEWIS GANSON.

BILL SIMON
Bill Simon has nonplussed me for years innumerable, not only with his superlative
and highly original magic but also with something even more mystifying. To begin
with, he is the tremendously busy sales manager and part owner of a large New York
Corporation with nation-wide distribution. He dreams up new sales plans and policies
and dopes out methods for efficient production including automation. Has a lovely
home and family and apparently devotes more than average time and affection to them.
He is an enthusiastic hockey fan and indulges in golf.

Now with all this, how is it possible for one person to create original material suffi-
cient to fill three excellent books of magic and also be working on a fourth one, soon to
be published? Another strange thing is that he appears to be a leisurely individual and
never in a rush. Manages to attend most of the magic meetings in New York and the
National Conventions. So after many years of intimate contact with this gifted guy,
I am still wondering.
FAUCETT W. ROSS.

CONTENTS - - - - - -
From the Gen Desk - Lewis Ganson _.._._ 175 Variation on the Hunter Knot -
Orben Cm .............................. 176 Martin Gardner .................. 184
A Coin Vanishes - Bill Simon ............ 177 Lewis Canson Explains - “Dai Vernon’s
Handling of Dr. Elliott’sBottom Deal” 186
Benzais’s Drop Lap Vanish - J. Benzais 178
The RisingWhat Trick! -
Just For Fun - Lou Tannen ............ 188
Howard Schwarzman ............ 181 impromptu Ring Transposition -
The Escalator Cards - Herbert R. Hood 182 Conrad
C. Bush ........................ 189
Forceps - Ken Krenzel . . . . . . . . . . . . . . . . . . 183 Review - Harry Stanley . . . . . . . . . . . . . . . . . . 191

THE GEN is published on t h e loth of each month by HARRY STANLEY, 14, Frith Street, London, W . l . -
Single Copies: 2/6: Twelve months
subscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription $4.00.
Editor : LEWIS GANSON. Editor: Art DENNIS PA!B’EN.
@ HARRY STANLEY 1961. Contributionsare only accepted on thetermsthatthe copyright belongs t o
Harry Stanley.

175
 O R B E N GEN
SIMON SEZ : Without actually contributing a singletrick or magicaleffect, Bob Orben has no doubt
dolle more t o influance modern magic than any three magicians you can think of. Orben has added entertain-
.
ment . and with a capital E. His many lines, sight gags, bits of business, and the hundred and one other
comedydevices he has created have found their way into many full-time professional acts, as well as being
important portions of the acts of thousands of semi- pro’s. In addition to writing a regular monthly gag series,
putting out several finished gag-books a year, and writing exclusive material for some of the top professional
comedians in the United States, Orben holds down an executive position on a string of commercial magazines.
A busyman, whose contribution is sincerelyappreciated.

I USED TO do Sawing A Lady In Half Heckler: Tell me, friend-as anout-

but I had to give it up. Unions! I
don’t mind joining the Performer’s Union
and theCarpenter’s Union -but the Meat
Cutter’s ?
When person hesitates in taking a card: Just
if You had God
the it have taken fourteen system comes the sound of water flushing.
days ?
Heckler: Tell me, is that your hair or
is your head unravelling?
Passe Passe Bottles: I wantto be
honest. These are notreal bottles of liquor.
You can’t get real bottles of whiskey past
customs. My customs. Drinking!
Here’s a little something I did at the
Palladium-while queueing up for tickets.
After aJoke: I just happened to re-
member that. Somehow I wish I hadn’t.
If you’re using apparatus with Chinese
Lettering: It says Made in Shanghai. The
other side says, Made in Formosa. I play
the States, too.
Everybody’s getting interested in magic.
Last week Khrushchev said he could press
a button and turn the whole world into a
parking lot . . . There’s only one hitch . . . .
No encore! . . . .
sider, what’s your opinion of the human
race? . . . . You gotta excuse him. This
happens every winter. I think the water
on his brain freezes . . . .
as a gag on a Magicians Only show,
when you pull on one of the tassels on the
Chinese Sticks, Over the public address
Next, we have a young lady who claims
she’s a perfect 36-and I understand that
was a very good year.
I won’t say it’s cold backstage, but I took
out my watch and the hands were rubbing
each other.
Bald: Doesn’t he have awonderful
head? I’ve seen more fuzz on blue serge
suits.
They say Scotland Yard has over thirty-
million fingerprints. So has every home
with two small children.
Heckler:Would you leave the room,
please? We wanna take a vote.
Did you hear about the two headhunters
who were watching Jayne Mansfield make
a movie in Africa? Obviously impressed,
one nudged the other and whispered:
“Just our luck to be headhunters!”

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HUGARD’S “MAGIC MONTHLY
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1 76
 A C O I NV A N I S H E S
B y B I L L SIMON
SIMON SEZ : My interest in magic has infected me for over twenty years. Car& w e m y p& inter-
est and take up perhaps 95% of my magic time. (The coin trick was submitted to attempt to add “balance’’ t o
an issue that could easily have been ALL card effects!) Actually, this NEW YORK ISSUE is hardly represat-
ative of New York. This barely touches the surface in respect to the great number and variety of fine magicians
who are located in this area. But this w li give YOU a small sampling of a few of the ‘‘boys”you have heard
of, and perhaps some you haven’t.

THIS IS MY handling on a coin move Take the half-dollar from their hands,
which I am sure is being done by open your left hand palm upwards,and
many magicians in many different ways. replace the half dollar in your left hand.
It makes the critical move easy, and it sets Slowly close your left fingers on the coin,
YOU up in a logical manner for the per- and again ask if they noticed whether the
formance of the move. coin was heads or tails up.

Havea half-dollar (shilling?)and a Turn your left handover, fingers to-

dime (small coin . . pence?) in your right wards the floor, “I am going to remove an-
hand trouser pocket. Pull back your jac- other coin from my pocket and use it to
ket sleeves, withdraw the half-dollar from mark the position of the coin in my hand.
the pocket withyour right handand For example, if you believe the coin in my
cleanly place it on your open left palm. hand is heads up I’ll place this other coin
Slowly close your left fingers over the coin. heads up. If tails up,then I’ll place the
9.
other coin tails up.
“Did you notice if the coin is heads up
or heads down in my hand”, you ask. Show your right hand empty as you go
When they reply, turn your left hand over to your right trouser pocket for the dime
so that your left fingers are towards the (the smaller coin). A s you do this, your
floor, the back of the hand is upwards.
‘6
Would youknowwhat position the
coinis in now, head up or down?” you
ask,afterturningyourhandas above.
“Please put yourhand beneath mineso that
I can drop thehalf-dollar,,from myleft hand
without turning it over.

Spectator places his hand or hands under

your left fist, and you slowly open your
hand, permitting thecoin to drop onto their
hands. The drop should be perhaps six to,
eight inches.
177
~~~~~~~ ~~~ ~~ ~ ~
~~ ~
left fingers begin working the coin which strong misdirection and goodcover)-as
is in your left hand towards the space be- your right thumb and first finger place and
tween your left thumb. and your left first adjust the small coin on the back of your
finger. Work this coin,out as far as pos- left fist.
sible so that it is just barely held by your
!eft thumb and first finger, Figure 1 . All Once the large coin is clipped by your
of this is done in an instant,while attention right fingers you casually drop your right
is on your right hand which has, by this hand to your right side and at the same time
time, withdrawn the small coin from your extend your left fist further from your
right pocket and is displaying same. body. Ask the spectator to remove the
small coin from the back of your fist and
Your left fist must be so angled that it extend his hand beneath your left hand so
conceals the large protruding coin. The that you may dropthe half-dollar from your
coin is towards your body, of course. left fist. Whenthey place their hands
beneath your left fistyou simply place
Show the small coin and place it either your right hand into your right pocket, get-
heads up or tails up-as indicated by your ting rid of the half-dollar, and remove your
spectators-on your left fist at the small hand from the pocket. Do this slowly,
finger end so that this coin is nearest to don’t rush and call attention to your ditch-
your spectators. This is done byholding the ing of the coin.
coin between your right thumb and first
finger and placing the coin on your leftfist, Attention should be very much onyour
your right hand between your body and left fist. Slowly open your left fist. When
your left fist to do this. the coin fails to drop, they will think you
have palmed it in your left fist. Slowly
As you place the small coin on your left turn your left hand over, fingers open, to
fist you will note that your right little and showthe coin gone. Atthe same time
third fingers are in perfect position to clip extend your right hand to a palm up and
the large coin from the position in which it open fingeredposition as you state: “1
isheld. You clip the large coin between guess it is impossible for you to actually
.
these two f i n g e r s 4 0 it slowly (you have know if the half-dollar is heads or tails”.

B E N Z A I S ’ SD R O PL A PV A N I S H
B Y J. BENZAIS
8 SIMON SEZ : The young man whoposed for the photographs, and whocreated this clever handling, is
one of the younger generation Mho is making his markinmagic. Although his forts is table magic, using the
appro=& of Slydini,Bensaishas original style, technique,and handling which results inoriginal &ects and
methods for his “at the table”magic. I amconfident that his originations will continue to find theirway into
print.

N O MATTER HOW you do the drop vanish, there will always be a slight
catching action with the hand which catches the ball or coin. This is something
that cannot be helped. With the vanish that I am about to describe there is no mo-
tion with the other hand, because the coin or ball is not caught in the other hand, but
dropped into the lap. The lap vanish can be done by itself or in a routine.

1 78
 EFFECT: To vanish a ball or a coin using the lap.

Photograph 1.-Hold a coin in your right hand

asin Photograph 1. Note position of theleft
hand.

Photograph 2.-Bring up the left hand as in

Photograph 2, and apparently place the coin therein. A s the left hand is closed, the
coin is placed to the rear so that when the hand is closed, the coin will be at the base of
the hand, held by the fingers and the heel of the hand.
Photograph 3.-Move thetwohandstothe
pointing position shown in thephotograph.

' Photograph 4.-Move the hands together and

rub theback of the left hand with theright middle
finger.

Photograph 5 . 7 1 - e right hand drops downtowards the edge of the table, at the same
time the coinis dropped onto the lap by relaxing the left fingers. The right hand
moves downwards until it is about an inch above the table and then swings to the
position in Photograph 6. When the position in Photograph 6 is reached, the fingers
of the right hand are snapped together. (The movement of your right hand actually
masks the coin which is dropped from your left hand onto your lap.)
~ .~ .. . -.

1 79
 Drop the right hand into the lap, at the
same time slowly open the left hand and show
it empty. T h e coin may now be produced in any way you see fit.

’ A 100% MAGICAL
SERVICE
FOR YOU !

HARRY STANLEY 14, FRITH STREET,LONDON, W.1.

-- 3 minuter from Piccadilly . . LeicesterSquareorTottenham Gurt Rad, Tube Station --

Telephone - GEkard 5409

Callers please Note- Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday -9 a.m. to 4 p.m.

.
TEE LINKINGapplyRING
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A magicmonthlymagazinewrclusiv-
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140 pages,illustrated,eachmonth.
You do not have to belong to a Ring
to for the 1.B.M
Write for detailsand application form to :-
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MAGICIANSH.Q.-Kenton,Ohio, U.S.A.
or W.G. STICKLAND, The Wand”,
Dudsbury Crescent, Ferndown, Dorut.

180
 SIMON SEZ : Howard Schwanman is a clever youngmanwhose youthful appearance is excellent mis-
direction for his manyyears of experience in magic.
for the past few years and he is rapidly developing a reputation as one of the better card handlers in the New
York area. This original effect ofHoward’s will give you some insight into his glib methods and manner.
T R Y THIS ITEM as a follow up the
next time you perform the old
standard effect; the selectedcardrising
from the deck while in the card box.
In the original effect the selected card is
controlled to the top of the pack and the
pack placed in the card box. The flap of
the box is then closed, leaving the selected
card so that it can be pushed out with the
forefinger, creating the illusion that the
card rises and penetrates the box itself.
For the repeat, the deck will rise leaving
the selected card behind.
Have
a card
selected and returned, then
control it tothe top. False shuffle and
false cut retaining the
top card.
Now hold the deck in your right hand,
the narrowend in the thumb-crotch, fingers
extended on the back of the pack the long
way and your thumb on the face card.
Pick up the box with your left hand;
o x n end to the right. The thumb should
bk on the inner eJge of the box opposite
the fingers ontheouter edge. The left
little finger is positioned across the bottom
of the box.
He has beep concentrating on cards and card magic
the deck between the box and your left
palm as the buckled card goesinto thebox.
Before closing the lid over the selected
card, give the deck a couple of pats with
your right fingers.
If you are still with me at this point, the
deck should be facing you, concealed from
the audience by the box, resting on your
left little finger and secured between the
fingers and thumb. Of course, the selected
card is neatly trapped in the box.
Be careful of the angles.
the tricky part.
To create the illusion of the deck
coming
through the box, toss the deck about a foot
in the air while retaining the box between
the fingers. Quick! - catch the deck
with your right hand - too late, try again.
With a little practise you will be able to
catch the deck in a pos-ition that will allow
you to fan it. This is a pretty touch.
Ask what the selected card was-if any
one remembers it. Handthe box tothe
spectator to remove and identify his card.
THEESCALATORCARDS
B y H E R B E R T R . HOOD
8 SIMON SEZ : HerbHood has beenaround the New York magical scene for nearly forty years. He knows
all the greats and near greats and most of the answers. Was one of The0 Bamberg’s first pupilswhen that
great performer operated a magic store in New York so many years ago. I s in the music publishing business,
is a wonderful photographer but magic has ever occupied most of his spare time and thoughts.

EFFECT: Spectator shuffles andcuts
his own pack which performer takes face
down, removes the two top cards, shows
them face upandnames them-say the
King of Hearts and Four of Spades. They
are turnedface down andreturned to top of
pack. The King of Hearts isplacedface
down on table to the right and the Four of
Spades face down to the left. Pack divid-
ed in half and a halfplaced atop each
tabled card. With a snap of the fingers
you command each bottom card to rise to
the top of its respective packet and instant-
ly you show that your command has been
obeyed.
This is a simple, direct version of the
ever popular “Ambitious Card” and I have
found that it impresses magicians and lay-
men alike.
placed at extreme left edge of cards near
center and first and second fingers under
thefour cards. By pushing tothe right
with thumb and puIIing to the left with
first and second fingers, the three top cards
move as one to the right and the bottom
card stays as it is. You are now showing
two ( ?) cards face up andslightly fanned.
Very little of the left thumb is on face of
the card.
Anyway, you have the cards held in the
left hand and without pause, the right hand
takes the three cards as one from the fan,
names it, say King of Hearts, and places
them under the single card, naming the lat-
ter also, sayFour of Spades. Square all
neatly,turn face downand replace on
the pack. This is all very clean. The
situation is that younowhave two in-
different cards atop the pack.

THE HOW: Several years ago Dai Remove top card, face down, and place
Vernonshowedme a beautiful sleight on the table to the right. At the same
which inspired me to evolve the present time, glance at it and miscall as King of
problem. 1 will attemptto explain it Hearts.
Repeat with second card and
briefly, but clearly and suggest that it may place it on table to left-miscall it as Four
be utilized in many other ways. Upon of Spades.
taking pack face down, carelessly fan it
and upon squaring, get a simple break be- Now take the pack and divide into two
low the fourth card. Push top card slight- equal packets, executing the familiar slip
ly to the right with left thumb and with cut which results in having the King of
the right hand take this card and the other Hearts atop right hand packet and Four of
three which are held as one - perfectly Spades atop the left one. Place the right
squared. Apparently right hand has hand packet down on card at right and
simply removed the two topcards in a fan. other packet atop remaining card. Square
up each packet neatly. Announce that
Square up and turn the four cards face the noted cards willtake the Escalator from
up. Place them in left hand which is still the basement to the top of the building.
holding pack, and get the following grip Snap fingers and onemore miracle hasbeen
before releasing right hand. Left thumb is accomplished.

182
FORCEPS - - - BY K E NK R E N Z E L
3 SIMON SEZ : An additionalidea toaddto FORCEPS would beto
actually lift threa cards out as one, as in the first phase d the trick.The
“forceps” place the card (actuallythree) am top of the pack. Thetopcard
is lifted off and inserted into thecenter of the deck, as in the described method.
To show that the card has returned to the top you hold your two foreps cards
in right hand and openly release the tw card of the deck with your left thumb.
The fo’rcepscards are placedover the t o p card to grip this card.The fan of
the two cards provides excellent cover for you to release the second card from
the top, which will t b n permit you t o double lift the top card off the deck
between the forceps cards. Show that the card inserted into center has return-
ed to the top. Offer to repeat the effect, returning the card(s) heldbetween
t h e forceps back to the top of the deck. Remove the top card with the forceps
and insert face down into centre of the deck. Now hyld the forceps cards to
the spectator (if you wish) and have them remove the top card, showing that
even though you do not touch the cards you still have excellent control over
them.

A BIT OF BIOGRAPHY FORCEPS

(or some passing reff ections)
The following is essentially an ambitious
card effect with a touch of whimsy.
My MAGICAL EVOLUTION follow-
ed the rather prosaic pattern of a Hold the deck face down in your left
child ‘of eight who is entranced by his first hand and thumb off the top two cards into
magic show. I acquired my first mail order the right hand. “In order to dispel any
magic catalogue andfromthatjuncture suspicion of sleight of hand”, you explain
the ;est was inexorable and irreversible. “I will not directly touch the card you will
select. It will only be handled by these for-
I consider my being a native New Yorker ceps”. The right thumb and fingers spread
a stroke of fortune, insofar as my magical the two cards apart in a “V” formation
development is concerned. Surrounded with the top card overlapping to the left.
by magical giants such as Vernon, Daley, The apex of the “V” is at the inner end.
Horowitz, Balducci and countless others
who were generous in their positive con-
structive criticisms, I learned correct magic The left thumbdown riffles the left
technique. corners and the spectator is asked to say
‘6
stop”. Now bring the right hand over to
Although I love all phases of conjuring, the left, turningit inwards so that theouter
I prefer “natural” sleight of hand and close- end of the upper card is inserted into the
up or platform routines which utilize com- break. Allow TWO cards to slip away
monplace props. I believe that push-but- from the leftthumband insert the face
ton tricks and tinselled apparatus are card of the pair UNDER THEM. Appar-
obvious as well as passe. ently one card has been interleaved be-
tween the pair. Retain your grip on the
4‘

It is possible for us to help-mold the forceps” as you push the two cards to-
magical development of some youngster gether about half way into the deck and
by constructive criticism. This practice, then withdraw them with the trapped card
I feel certain, will benefit our
. _
art in the long ( S ) between them. Show the face of the
run. captive card(s) and bring it over the top of.

183
the deck (still between the forcep cards). new break at the upper left corner of the
Rest its inner end in alignment with the deck with the left thumb and insert the
inner endof the deck and hold it down with “selected card” at this point. Tap the
the LEFT thumb as the right hand draws card flush with the deck with the “forceps”
awaythe “forceps”. Again spread the cards. “A gentle wave should bring your
two cards ina “V” formation and now grip card right to the top”, you remark as the
‘1
the top card by the outer end. To facili- forceps” are fluttered over the deck.
tate this, push the top card half way across \

the deck with the left thumb. Call atten- Conclude the effect by flipping the top
tion tothe fact that at no time do you card face up with the “V” cards in your
directly touch the selectedcard. Form a right hand.

VARIATION ON THEHUNTER KNOT

BY- MARTIN CARDNER
H SIMON SEZ : MartinCardner is one of the best-informed magicians
on closeup magic intheUnitedStates.Hisinterestranges from themost
sophisticated Card techniques to sugar-cube and paper-clip chicanery. In
addition to this maze of k n o h w .is Cardner’s ability to perform these featr
endlesslyandin a flawless, mmtiating, andirritatingly deceptive manner.
For the NEW YORK ISSUE Martin has generously contributed the here-to-fore
exclusive handlingof the G. W. HUNTER KNOT EFFECT which Bert Allerton
d e v e l q d . I t is this type of “repeatable” effect that Cardner most enjoys,
and his clear description will give you a true magical “gem”.

THIS IS NOT a new trick, only a hand- The standard move isfine for club or
ling of an old one ; and the handling stage work, with the audience in front and
was devised not by a New Yorker but by plenty of arm room so that the sleight can
thelate Bert Allerton, a Chicagoan. A s be covered by misdirection as theleft hand
an ex-Chicagoan, now living in New York, israised to allow its loop to drop off its
I am pleased with this opportunity to des- wrist and form the knot. But Allerton
cribe one of Allerton’s previously unpub- worked at tables, often with spectators on
lished secrets. both sides and sometimes looking over his
shoulder. To meet these conditions, he
The trick is the familiar G . W. Hunter worked out a handling that is absolutely
Knot. A performer holds the ends of a foolproof as to angles. I recall one occa-
piece of rope, loops the rope over his wrists sion, at a magic convention, when he re-
in a curious fashion, allows the rope to fall peated the move fifty or more times while
from his wrists. A knot forms. If a ring spectators tried to catch it from various
is on the rope at the start, the knot forms positions. One chap stood on a chair so
aroundthe ring. The effectisdescribed he could look down ; another lay on the
in Stewart James’ Encyclopedia of Rope carpet on his backso he could see Allerton’s
Tricks, Jean Hugards Modern Magic Man- hands from beneath!
ual, volume 3 of Tarbell, and many other
books. I will assume that the reader knows A short piece of rope, only three feet
the secret move. long, is best. Allerton worked with very

184
 soft rope, made by rolling a piece of cheese- n
cIoth, but any softrope or even a piece of
string will do. The ends are held so that
only about one-fourth of an inch a t each
end is visible above thumb and forefinger.
Loop the rope over the left wrist, in the
usual way, but do not draw the right end
more than about five inches beyond the
point where the rope crosses itself (Figure
l ). The right hand now follows the
arrow, then moves right to tighten the rope
between the hands. The right end of the
rope is kept vertical and straight, causing
the rope to assume the appearance shown
in
Figure 2. The loop marked A is
brought up against the right thumb,as
high as it will go. The second, third, and
fourth fingers of the right hand curl around
the rope, below loop A. In this position
the rope can be viewed fromanyangle
and it is not possible to see what is inside
the right hand. (In Figure 2 theright
fingers are opened slightly to show the rope
more clearly.)

The left hand moves slightly up and to

the left, tossing the loop offits wrist. At
thesame time, the right hand makes a
slight, but very slight, twisting motion to
allow the rope that crosses the back of its
hand to dropforward. A t thesamein-
stant, the right thumb loosens its grasp on
its end just enough to allow loop A to slip
off the end. Immediately afterward, the
thumb tightens on theend of the rope
again.There is no visible movement of
the tiny quarter-inch bit of rope that pro-
jects above the right hand, nor is there any
visible movement of any of the rightfingers
or thumb. This is the move’s crucial as-
pect. The right hand should not alter its
grip in any way. There is only the slight
loosening of the thumb’s pressure to permit
loop A to slip free. A spectator can ob-
serve nothing suspicious, regardless of the
angle fromwhich he views the performer’s
hand. For this reason the trick can be re-
peated over and over again, almost in slow
motion, and when completely surrounded
by onlookers.
Most readers are no doubtfamiliar with
the final “clincher” with which this trick
is usually closed, but I mention it anyway,
for those who may be trying the trick for
the first time. Form the loops very slow-
ly, asking viewers to keep their eyes on
bothends. Thenask someone to seize
both ends. Transfer the loops from your
wrists to his, and point out that he is now
holding the rope just as you held it. Ask
him toshakethe loops from his wrist.
When he does so, the knot forms. In this
case, no secret move is necessary; the knot
is the consequence of the rope changing
hands. AsStewartJames suggests, you
can knot the ends around your thumbs be-
fore forming the loops, to rule out the possi-
bility of any false moves before the spec-
tator takes theends.
185
was billed. It reads :-

TO THECARD‘MANIPULATORS OF THE WORLD

on behalf of
E L L I O T T

The Champion Card Manipulator of the World, I hereby challenge any breathing card manipulator in the
world to dispute his claim to the above title. ODDS TWO TO ONE AND FOR ANY AMOUNT OF STAKE
WAGER NAMED. Willgive ortake(FourHundredDollars) for alltravelling expenses. I havethis
day August 22nd (Monday) 1898 at 3 p.m. deposited ($250.00.) in the hands of Mr. Frank B. Summers a s
a guarantee of good faith to show that I mean business, which will give any of t h e very many Kings of
Cards, Card Kings, Card Conjurors and Card Manipulators in all comers of the civilized world ample time
in which to think and accept the above well intended challenge . ... .
I remain,respactfullyyours, R. A. RICHARDSON.
Sole Backer and Manager of Elliott.
. Witnesseq : C. W. Chase. W. E. LeRoy. F. Zanzii. E. Wilson. G. L. Stockton.

During the many hundreds of hours I
have sat with Dai Vernon recording his
magic, the work of,Dr, Elliott was often
mentioned. Dai told mehow Dr. Elliott
would always book TWO rooms at any
Hotel at which he happened to be staying
-one to live in and the other in which to
practice his card magic. This second room
always had a bare table at which Elliott
would sit for hours, but he confessed to Dai
that he had learned by experience to prac-
tice his magic both sitting and standing, as
after practising a trick while sitting, he had
found difficulty when compelled to perform
standing-the method of handling and
angles to be covered were often different.
A sleight which defied detection in Dr.
Elliott’s hands was his,Bottom Deal. Al-
though he contributed many articles to
magical magazines, he always retained the
secret of the deal. At one of themany
sessions, the young Dai Vernon had with
Elliott, the Bottom Deal was carefully ex-
plained. Over the years Dai has used the
deal and it isrevealed .here for the first
time. Actually it is just one of the many
interesting things which willbe included in
Part Four of Dai’s “Inner Secrets of Card
Magic”.
Much has been written on Bottom Deals
but Dai Vernon considers that Dr. Elliott’s
version is the best.

1 86
 The pack is held inwhat seems to be the ing the bottom card the procedure is as
normal dealing position but a close study under.
of Figure 1 will show the important differ-
ences. Note how the little finger is at the The top card is still pushed over and
inner’end and thatthere is a space between actually gripped by the right thumb and
the second and third fingers. According to first finger as before, but when the right
Dr. Elliott this spacing of the second and second finger goes under the pack it pulls
third fingersis the most difficult part to out the bottom card with an inward twist,
remember. tilting the outer edge up to come against
the right first finger (Figure 3 ) . The right
first and second fingers then deal the bot-
tom card downwards onto
the table.
Simultaneously the left thumb pulls back
the topcard onto thepack where it is “box-
ed” as in a second deal.

The right hand movement is a twisting

The top card is pushed over to the right
with the left thumb andtaken near the out-
er comer between the firstfinger and
thumb of the right hand (Figure Z), but
always the right second finger goes under
the pack and onto the face of the bottom
card-between the left second and third
fingers.
action from the wrist with a snap of the
first finger off the card under the
thumb. The front end of the pack slopes
just slightly downward to the table to mask
the under-pack activity.
In all types of Bottom Dealing, where
the bottom card is pulled from the pack, the
pulling motion is not a straight one but is
done with a twisting motion from the
wrist.
The pack should be gripped lightly in the
left hand-almost floa.ting in the hand.
The deal can bemade with the pack
squareor bevelled as in Figure 1. A
bevelledpackis often used by gamblers
who have the edges of the cards marked.
By bevelling they can see the marks and
know when to deal fair or from the bottom.

For fair dealing the topcard is dealt.onto Many thanks to Dai for helping to make
the table, the right second finger just slid- possible a New York Edition of ‘‘ THE
ing awayfor the bottom card, but for deal- CEN’ ’.
187
 SIMON SEZ : It would be difficult to conceive of a NEW YORK ISSUE
without the inclusion of Lou T a n e n . Lou’s magic shop is actually a hub of the
magical activity inNewYork. It is the meetkg place of the visiting o’ut-of-
tomners, the professionals d o are working i I * and around thecity, and the
inevitable regulars. Lou’s friepdly personality makesallwelcome: the neo-
phyte and the expert, the manipulator and the apparatus worker, the very young
and those a bit older. He has offered as his contribution an item I am sure
he could easily have put on the market. You should enjoy using it.

1ENJOY COMEDY magic as I feel that the envelope and read my prediction,” says
when you combine humour with the the magician.
unusual, thenyou’ve got a strongcombina-
tion. This is a mental trick, but strictly Spectator holding the prediction opens
with “tongue in cheek”, thus, it isreally the envelope and reads as follows: “The
just for fun. total will be 34”.

“What!” says the crestfallen magician.

The performer hands an envelope to a “Let’s add them up again.” The perform-
spectator. I have predicted number
6‘
a
er adds the five numbers once again, the
which will be a total of numbers selected
slate facing the audience. This time the
at random by the audience”, the performer
total adds to 3 1. “Well, weare getting
states.
closer,” says the magician. “Are you
sure that I predicted 343” This is verified.
The performer next shows a blank black “Well, let’s add them just one more time, .I

slate. “I wantyou, sir (pointingtoa the performer states. The numbers are
spectator), tochoose a numberfrom one to added for the third time and it is found that
ten”, the performer says. Spectator se- they total 34. “See? I knew I could do
lects number eight. The performer writes it,” says the relieved performer.
“8” on the slate. Going to a second spec-
tator the performer says, “And willyou The method involves a prepared slate.
choose any number from onetoten, The slate must consist of two pieces of sili-
please 2 ” . cate, attached together. One piece has
five squares cut out, as in Figure 2. Five
This is repeated until five numbers have flaps, with tabs, are prepared. A flap is
been selected at random and have been re- shown, Figure 3. Each flap is painted the
corded onthe slate. The slate should same colour as the slate.
appear as in Figure 1, assuming the num-
bers depicted are those selected by members Put the two pieces of slate together and
of your audience. in each square, from the top down, paint
in the numerals, 4 , 7 , 6 , 9and 8 as in Figure
“We will now total these numbers which 4. (Try to imitate chalked-in numbers.)
were freely selected,” the performer says.
Withthe slate facing the audience the To assemble the slate, remove the half
performer openly adds the numbers. Let which has the five squares. Place one
us say that the total comes to 23. “Open flap, with tab to the left, over each of the

188
painted-on numbers. Place the slate with
the five squares over the flaps.Bind the
two slates tightly together with grooved
wooden slats surrounding the edges, or
with strong industrial tape. The assem-
bled slate will look likeFigure 5 . The pres-
sure of the slates (if tightly bound together)
willhold the flapsinplace. From a dis-
tance you simply have a blank, black slate.

To perform, you actually write each

selected numberon eachflap. Add the
total together. If it comes to 34, your
prediction, well then you’ve got a pretty
Q
goodeffect! However, assuming it does
not total correctly, youask spectator to
read your prediction. While your pre-
diction is being read, you slide three of the
tabs from left to right. This will bring
three of your previously written numbers
into view. Have the total checked, show-
ing that a “different” total now appears.

Ask to verify your prediction once

again. Underthe misdirection provided,
slide over the other two flaps to the right.
You have the numbers added again, show-
ing that you finally made it!

IMPROMPTU RING
BY CONRAD C. BUSH

E SIMON SEZ : Connie Bush is a New Yorker who gets around.Holds

a rasponsible job as Certified Public Accountant which takes him to almost
rpq part of America and d l e s him to antact magical enthusiasts every-
where. Although his primary love is urds he is an excellent all round sleight
of handsta with a faculty for improving CV- good tricks. His contribution
a#ords abundant proof of this statememt.

1 89
 REQUEST THE LOAN of a ring and
have the gentleman offering it come
forward to assist you. Have him stand at
your left side. Hand him two rubber
bands or place them on your table. Have
your assistant place his ring on your open
left palm. You now ask him to cover your
hand with his handkerchief. Do not close
your hand but let the spectators see the
ring up to the last moment.
Have theassistant hold the handkerchief
bytwoadjacent corners in front of the
hand and then lower it over the hand so it
is over the wrist.
As the handkerchief covers the hand you
close the fingers and turn the hand over to
the right so that the little finger is nearest
to the floor and the thumb on top. This
change in position is made so that you will
be able to drop the ringundetected.
Now ask the assistant to take a rubber
band and place it around the hand to hold
the handkerchief down close aroundthe
wrist. At this point you gesture with the
right hand by passing it over the left, then
down and under the handkerchief and up
again in a circle. It is this move that does
the trick. As the right hand gets about
halfway around, you drop the ring and as
the right hand reaches the bottom of the
handkerchief, the right hand opens for a
moment to catch the falling ring and con-
tinues
around without any perceptible
change in pace. After you have the ring
in the right hand, drop that hand to the side
nonchalantly. Circle the hand about three
inches away from the handkerchief, but as
the hand reaches the bottom of the circle,
the hand should skirt the handkerchief so
that the ring will not be in the air uncover-
ed. Practise willtell you just whento
drop the ring, so it does not arrive pre-
maturely or too late so the right hand will
have to wait for it. I claim no originality for the above effect.
I have merely combined a few well known
You now request your assistant to step sleights to give you what I believe to be the
to yourright side. As your righthand
comes upto remove your handkerchief
190
from theouter left breast pocket, you
sleeve the ring in the right sleeve.
Remove the handkerchief by the tips of
the thumb and first finger so that it can be
seen that the hand is empty without direct-
ly calling attention to the fact.
Hand the handkerchief to the assistant
asking him to place it over the right fist.
A s he takes the handkerchief the hand is
dropped slightly, allowing the sleeved ring
to fall into the hand, which is immediately
brought up in a fist and covered with the
handkerchief and the rubber band placed
around the wrist.
The mechanics of the trick are finished
but it is now up to you to build it up by
explaining what has been done and whatis
aboutto transpire. To makethe effect
more difficult, you willhave the ring appear
on any finger, or the thumb, that the audi-
ence may suggest.
A throwing motion is made by the left
hand to the right. The band and handker-
chief are removed from the left hand and
the ring is gone. The band and handker-
chief are removed from the right hand and
the ring is displayed on the chosen finger.
Have your assistant remove the ring and
verify it as the borrowed ring.
A few suggestions: Borrowa heavy
ring where possible. When stealing the
ring from the right sleeve, do not drop the
arm straight down, as a ten to twelve inch
drop is sufficient and not noticeable as you
apparently dropped the hand to enable the
assistant to place the handkerchief over the
fist.Roll up your right shirt sleeve so
the cuff does not interfere in the sleeving
process. And most important, the moves
of dropping the ring must be in perfect
co-ordination.
cleanest method of performing the old Fly-
ing Ring trick in an impromptu method.
 TOP BILLING
this month goes, of course, to one of the
highlights of the magical year, “The Magic
Circle Festival Week” at the Scala Theatre.
A beautifully printed, but shockingly de-
signed poster (almost unreadable a few
feet away) announced it asa presentation
of “International Stars of Magic” a mouth-
watering prospect which induced meto
cough up sixteen bob for a seat at the
Monday night performance. Prominent
in the entrance hall was President White
and his Circle Corps d’Elite, in their best
bibs and tuckers, shirts gleaming “whiter
than white”, greeting the important first
night socialites (magical and otherwise).
The show opened about ten minutes late
( I have never understood why a show can-
not start at advertised time) the curtains
parted to reveal a full stage, against the
back curtains of which were some stairs
leading up toa trellis work arrangement .
while spread thinly around the large stage
in front, a half-dozen uncomfortable look-
ing musicians blowing the bootlaces off a
pop tune . . a most uninspiring sight and
sound. To conclude this “overture” a puff
of smoke at the top of the steps resulted
in the “mysterious” appearance of a young
man who bounded down the stairs to give
us a hearty welcome” . . so we settled
6‘
down comfortably in our seats ready for
the “off”. He dithered aroundand then
subjected us to a silly little stunt in which
he had one halfof the audience stand up
and bow tothe others, then the“bowed at”
half stood and did their bit of bowing.
4‘
During this, hemade comical remarks”
and dashed into theaudience to give some-
one a bag of crisps! This purile nonsense
is the sort of thing one suffers at a small
concert party show at the end of a small
pier at some small seaside resort . . I won-
dered who it was,who considered this
whole opening set-up as a suitable start to
an International Festival of Magic at a
West End Theatre with top prices.
Eventually we arrived at the first act . ,
.
Ron McMillan . who, someone in their
“wisdom” had cut to “Billiard Balls only”
. . A brilliant manipulator, but I hope one
day he will take my advice and not try to
produce so many balls (about seven in each
hand) . . for the effort of doing it, increas-
ingly restricts his movements and makes
the
final result unpleasing to look at.
Marconick who later in thebill does “Rain-
bow Silk and Balls” just passes a silk
across his hand four times in quick succes-
sion . . the result, a fine-looking hand of
four billiardballs. A lay audience gives
the performer credit for skill and cannot
know that themethod is mechanical!
Next came M’ing ahow . . wonderful
Chinese make-up . . bloken-inglish talkee-
talkee and with six members of the audi-
ence brought up on to the stage, featured
pick-pocketing. A robust, lively and very
assured entertainer.
First of the “International Stars”was
Maldino, billed as “The Great Continental
Magician” from Germany. Opened brisk-
ly with the old “triangle illusion”, which
he unfortunately bodged, so no one was
surprised to see a lady assistant produced
from the “previously shown empty”
screens! With a table set each side of the
stage he went back andforth between
them . . picking up a trick from one table
. . doing it, puttingit down, then marching
off to the other table to do another . . I’ve
never seen anyone walk around so much,
to so little purpose. The tricks were “run
of the mill” stuff, quite competently per-
formed, but it made me wonder who it was
that recommended him as a “star” for the
Festival. I think it is an occasion when
191
the chaps are entitled to expect that when and how right they were . for the Glamor-
a performer is brought from overseas, he ous Yasmin, billed as “The fabulous and
should have “class” or show something exotic Fire Eater” was just their cup of
“different”. tea and her scantily clad form adorned the
national newspapers. On stage she wrig-
The first half closed with an act which gled vigorously while extinguishing lit
always gives value for money . . Alan Alan torches popped into her mouth . . relighting
. . a real professional who grafts all the way and runningthem up, down andall around
with hisescapes. His light-hearted pre- her generous display of naked flesh. These
sentation of what could be a very grim two “tricks” she repeated time and time
affair is very appetising. Bad luck at the again. I wonderwhatthemany child-
end with the microphone did not spoil the ren whoattended the Saturday Matinee
enjoyment of the audience. thought of it! Many members have since
questioned whether this act really had its
An interesting point about the first half place in what should be (and is) a
was that members of the audience invited “family show”. I should have thought
to assist onthestage,outnumberedthe that it was possible to think (or scheme) up
performers !! Ming Chow had six up . . something more magical” for the press
$6

Maldino two . . and Alan two . . traffic was angle . . or perhaps I’m old fashioned!
very busy to and from the stage.
Marconick, from Holland, proved a
During the intermission, having a “tonic worth-while “import” from the Continent.
water” withan old friend and very import- Many years ago I brought him over for one
ant theatrical agent, who loves magic, we of my shows and since then recommended
nattered about the old days and “wonder- him several times to the “powers that be”.
ed” at whatwe had just seen. But looking “Better latethannever”, Nicky (as his
at theprogrammewith the second half friends call him) put on the sort of show
4‘
names” to come, hoped for better things which magicianslove.
Brilliant tricks,
. . and we were not disappointed! faultlessly performed with professional
speed and polish. Most chaps I have spok-
Donald Stewart with two people up from en to said his silk magicwas the thing they
the audience did the act which he has done most enjoyed in the entire bill. After our
for almost forty years . . a grand entertain- chat in Liege, Nicky polished up his finale
er getting laughs from tricks which most for a much cleaner finish . . I wish I could
chaps have lying around discarded at the watch his performance for a couple of
bottom of their magical cupboard! months . . I a m sure our “post-mortem dis-
cussions’’ after each would result finally in
Donald is a grand chap, but I wondered a really great act.
whether this spot could not havebeen filled
by one of the many fine young comedy- Strangely enough,events brought me an
magicians around the country, to whom a opportunity to do just this with another
show-spot like this might have been a great performer . . the next one on theprogram-
opportunity to be “seen”. me . . Johnny Hart. At the age of 17, he
had won the country-wide competition for
The Circle “publicity wallahs” have al- magicians under 1 8 years, organised by the
ways been “on the ball” when it comes to Magic Circle ( a splendid effort, this).
an opportunity to get the society show in The prize was. this week‘s engagement at
the press and on T.V. . . so in booking the the Scala, His brilliant manipulation
next artiste to appear, someone evidently with cards, doves and Budgies, deservedly
thought that it was something the news- earned for him a very big ovation. Seeing
paper chaps could get their teeth into . . him for the first time, I felt this lad had the

192
skill and “potential” I would enjoy helping
to develop . . in fact he is the first young.
ster to “enthuse”me thus, for many a long
day. How this turned out is another
story about which you can read later.
Arthur Worsley an old side-kick ofmine,
whose act I have seen many, many times . .
yet I still laugh just as heartily at the gags
and still wonder at his flawless technique
. . he’s great! What an idea . . tomake
the dummy do all the talking in the act
(Arthur only actually speaks one line
throughout) !
Robert Harbin closed the show . . and
how! There can only be very few people
who have known him longer than I, and I
have ever-admired him as a person and his
magical knowledge and skill . . but, I must
confess that as a performer he often leaves
me blushing . . Not quite my cup of tea, as
he too often gives the impression that he
is not too sure that his tricks are going to
work . . andthey sometimes don’t! He
has developed a light-hearted back-chat
about this and also about his sometimes
rickety-looking and not-too-well-made-
and-painted apparatus . . but . . he is such
a grand chap that I and all magicians “luv”
him . . bless his cotton socks! Having said
this much, I get genuine pleasure from re-
porting that on this actual showing he was
simply grand! Having the good sense to
61
use as openers” tricks he has done for
years and years . . “Tornand Restored
Newspaper” with members of the audience
standing close tohim (one either side-
great touch this), Cigarettes and “Visible
Sawing Through a Woman” . . Bob got
off to a fine start. Then an illusion with
his own assistant, in which her pretty head
was shifted away fromher body! He next
induced her to enter alarge cabinet and as
a “reward’ he promptly divided her into
three “sections” ! These “sections” he
next removed singly and placed them, in
turn, in thefurther side of the cabinet.
When the “di-secting pieces” were remov-
ed, the younglady stepped out . . unharmed
and in one piece . . a brilliant illusion . .
beautifully performed ..a fitting climax
to a magical show.
I haven’t mentioned that the compere (a
non-magician) came on between each act
and did his “bits and pieces” before an-
nouncing the next one. So anxious was
he with his own bits of song,string of
stories, impressions or what have you . . he
even did the Dancing Cane (badly) . . he
more often than not slipped up on the name
of the artiste! I mention this because of
the wide-spread belief that one cannot run
a show without acompere . . which is non-
sense. With such a fine stage staff (Gil
Leaney, Frank Lovatt and Dr. Napier) the
scene changes were effected quickly and
efficiently and artistes (and the audience)
were kept waiting while the compere did
hisstuff . . why,why, why? Comperes
(if necessary) should do only sufficient to
fill in the time . . not a second more.
If one added up the time used by this chap
during his many appearances . . it was more
than a couple of acts! I went there to see
goodmagic, not piffling little “bits and
pieces”.
If you think that perhaps I have been a
bit “hard” in this report I want to say this
. . I love good magic . . the “Magic Circle’’
has a very soft spot in my heart . . and 1
think an occasionlike this should be the
opportunity for it to show thegreatness of
magic as an entertainment. . and a “show-
case” for promising young magicians . . I
have no time for anything below this stan-
dard. Many hundreds of pounds profit (a
valuable income to the Society) is made
each year with these Scala shows . . it is
also a great socialoccasion . . but these
things should not be the be-all and end-all
of the week.
A PART-TIME DEALER
by the name of Ziekman (Mephisto-Huis)
is rather annoyed with me . . for in his
recent advertisement in “Abra” he states
that our Multiplying Bottles can’t be as
good quality as his, because ours arecheap-
193
er in price! He had not even seen ours,
so I wonder how he comes to this conclu-
sion? A magician who had sent him E 1 5
to Holland, for a set of his bottles told me
indignantly that when they arrived he had
to pay almost ;E4 more for import duty,
etc. He brought them to the Studio and
when he had a jolly good look at ours . .
said “Harry, if you like I’ll leave them here
so that the chaps can compare the respec-
tive qualities . . the Unique set are miles
ahead in quality!” So come in and judge
for yourself!
By the way, if you ever see this chap’s
catalogue you will find that he advertises
and sells many Unique tricks . . without
my permission. ’ You may have missed
the note at the bottom of my advert., so
I’ll repeat it here. In order to help chaps
. . readers can obtain them through our no
interestCreditScheme . . . if interested,
send for details.
JOHNNY HART.
I’ve taken this youngman under my
wingand will see to his future,work,
coaching and training. Am planning this
as carefully as possible and to date have
fixed for him many cabaret dates at the
best London Hotels . . a 12-week season at
the famous Pigde Restaurant Theatre in
Piccadilly and sixteen weeks in one of the
big shows in Blackpool this coming sum-
mer . . which isn’t bad for a start!
all the best,
HARRY.

“STARS O F MAGIC”
ONE OF MAGIC’S GREATEST BOOKS by some of the GREATS in MAGIC

DAI VERNON -SCARNE -ALLERTON -HOROWITZ -JARROW

- CARLYLE - DR. DALY - SLYDINI - ROSS BERTRAM

The original was published in loose form and sold for over thirty-two pounds ($94.00.).
Now it has been re-printed as a regular 8+inches by 11 inches Hard Cover Book, with
hundreds of illustrationsby George Karger.

Price Complete- ;E3/10/-

1 94
 UNIQUE
SUPER FANNING CARDS
0 Acclaimedeverywhere as the ULTIMATE in
Quality and Beauty. Printed on real Playing Card
stock, exclusively for us by the country’s leading
playing card manufacturers. The BoldModern
BackDesign is created speciallyfor fanning”.
‘ I

The colours are Brilliant ..

Red-Blue-Black-White
and Yellow. The Faces have normal “Spots” and
‘‘Courts” . . plus extra Blank Face card for effectof changing blank-face pack in-
to an ordinary one. Complete with Illustrated instructions that make it all so
Easy to Do.
Price 12/6 U.S.A. $2.00.
..
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up a WHOLE NEW WORLD OF MAGIC FOR YOU - -

REELISTIC MAGIC
..
A new Fifty-Six pp Printed Book illustrated with plenty of Photographs
and Line Drawings. A great collection of Tricks - Stunts - “Bits of Busin-
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Visible Silk Penetrations - Visible Tying and Untying Silks - Card and
Cigarette Rising - and many other Tricks with Ropes - Treasury Notes -
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“REELISTIC MAGIC” opens up for you a tremendous field of Interesting
and Exciting Magic . . that’s Easy to Do. . but WONDERFULLY EFFECTIVE!
Price ?/6 U S A $1SO.

1. A GREAT DEAL OF EXCITEMENT W-

caused at Liege and Harrogate Conventions bv the
11

I UNTYING OF KNOTS
This was another SELL-OUT! And, rightly so,
for it is terrific magic and comedy!
TWO HANDKERCHIEFS are knotted together by their corners . . the knots are pulled really tight.
YET . . just by covering the knots with another corner of t h e handkerchief .
. they are dissolved, ap-
parently by magic . . in an instant. The two hanks. are re-tied once again . . the knots being pulled
even tighter thanbefore . . but . . they are “dissolved” just as easily I Nexttime, you allow the
SPECTATOR t o t i e the knot, and on top of this he ties Another knot and ANOTHER . . Yet, you
“dissolve” them just as easily as before!!
KEN BROOKE hit on a simple idea which “makes life easy for you” in the performance of this
great trick and we include it in the instructions PLUS . . T W O Specialeighteen inch Nylon Hand-
kerchiefs, which are just right for the &ect . . which can be done ANYTIME . . ANYWHERE.
U.S.A. $2.00. -.-m

195
 J) B O O K S F R O M AMERICA - - -
WE CARRY ONE of the LARGEST STOCKS of BOOKS of MAGIC IN T H E COUNTRY.
*g
ments with other British
books immediately on publication. We also receive
.
ourselves the actual publishers of numerous books, we have special arrange-
. American and Continental publishers to supply US with Ithair
a constant and regular supply to re-
plenish our stocks. Therefore, providing the book is in p+t we can usually supply i t ..
from stock by return of post. Out of stock requirements can be speedily obtained. Your
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0 SEND FOR OUR CURRENT BOOK L I S T . IT’S F R E E FOR THE ASKING. .
.-.......................................................................................................................................................................................... -.......................

AN EVENING WITH CHARLIE MILLER

4 AT LAST, this Iengendary American magician ,hasbeen persuaded to write a book. As wouldbe
.
expected. i t is full of GOOD THINGS. Certainly NOT TO BE MISSED! .
Price - 21/-
~~ ~

“COIN MAGIC” by JeanHugard. A complete manual of Coin Conjuring.Tricks,Sleights, Ron-

tines,andPatter. 88 printedpages. - Price - 14/-.

“ CONJURING WITH CHRISTOPHER”. - Tricks with practicall5- everyobjectyou can think of.
Close-up, Platform or Stage.Sixtytricks, 72 pages. - Price 17/6. -
“ SILKENSORCERY” by JeanHugard. 23 TrickswithSilks . . Sleights, flourishes, useful acces-
soriesandPatter. 83 pages -Price - 14/-

“ THIMBLE MAGIC”. Routines . . TricksandSleights. - Price - 10j6.

~ -.....-
.-...-...-........... ...I... -......-.....
‘‘ THECARDMAGIC OF BRO. JOHNHAMMAN”.These are not“just”cardtricks.Theyare
unusualinmethod,subtletyandstratagem. No impossible sleight of handis involved, yeteach is
StunninginEffect and Climax. 48 well printedpageswithillustrations. - Price 21. -
‘ l THE SPIRIT I S WILLING” by James Auer. A compietely routined act of Mental and Spiritualistic
effects for Club, Stage, T.V. andDrawing Room for single-handed performances.Eight effects plus
Patter and Presentation. 50 printed pages - Price - 14/-.
..................................................................................................................................................................................................................... --.
“ BLOW BY BLOW” by Jim Sommers. A newbook on BalloonMagic. 28 printed pages with Illu-
strations of Tricks, Gags and Noveltiesincluding“delayedaction bursting”. - Price - Id/-.

“ VENTRILOQUISMandTELEVISIONTICKLERS” by PaulStadelman. Two Books inOne ...

The first teaches you t h e a r t of Vent. and handling figures. The second comprises of Nineteen Com-
d y Dialogues. 50 printed pages Price 14/.. - -
“ SICKSORCERY”.Twenty-FourPerformanceTestedTricks,Routinesand“bits” of business.
Over 40 Illustrationsin 48 well printedpages. One trick won threatrophies! - Price - 14/-.

“ MAGIC WITH CANES” by Hen Fetsch. Packed full of clever, practical and entertaining uses for
the magician’s cane, whether it be an un-prepared one, one of the “appearing” or “vanishing” variety
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idillustrationsin 48 packed Printed Pages. - Price - 1 4 j - .

**I “ SELECT SECRETS ”

A new and enlarged edition comprising of a baker’s dozen of
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Price - 10/6 Post 6d.

1 96
 “ DE-LUXEMODEL”

F L O A T I N GB A L L

HUMANGASOMETER
You show alength of clear Plastic FLEXIBLE I

Tubing . . a neat bakelite mouthpiece on one end and 3

small metal band onthe other. Saying that you had
‘L
filled up” at thelocal gasworks, you twist your ear
(to turn the gas on), blow gently through the tube,
apply a flame (match or lighter) to the other end
and a flame bursts forth! Another twist of the ear
! This can
(to turn the gas off) and the flame stops!
be repeated. A most unusual . . amusing . . and
mystifying trick. Entirely Self-contained. Youcan do this rightaway ... .
Nothing to Break . . Nothing to go wrong.
Price 17/6 (post 1 /-) USA. $3.50.
MARCONICKS
COLOUR-CHANGE ROPE
Exactly as used by himin his First Prize Winning
Routine at the International Congress in Liege and
at the MagicCircle Festival Week at the Scala
Theatre. A piece of White Rope (about 30 inches
long) is held outstretched between the two hands. .
Note . . the Ends are in full view. Passing a hand
..
along the rope. . it Visibly Changes Colour com-
..
pletely to Red and please Note this-the Ends of
theRopeareinFull view! !! ThisEye-popping
trick can be performed immediately. No “Pulls” . .
(L
get-aways” or Sleights of any kind.
Price IO/- (postage 6d.) U.S.A. $2.00.

197
 FRAME-UP TOM WATERMAN

Effect:
A large Picture Frame (12” by S&”) is
apened RIGHT OUT, shown EMPTY and LEFT IN
FULLVIEW OF AUDIENCE.
Performer, relating an amusing patter story, displays
a copy of a well-known Magazine,callingparticular
attentiontotheGlamorous Cover Girl.Magazineis
closed . . t h e cover isthen allowed t o fall open, the
cover picture is seen to have vanished . . . leaving a
Cut-out Silhouette !
The frame is turned around, the Missing lady is now
there . . . ON DISPLAY I
A fine mystery in itself, an additional big feature is
the Really m e r t a i n i n g Patter Story that goes with it.
Entirely Self-contained the clever Mechanical method
usedmakes itan effect t h a t ALMOST WORKS
ITSELF. The PhotoFrame looks good and is well
made . . . “glass” is clear Plastic . . . so there is no
worry about breakages . . a splendid practical prop.
COMPLETE and ready to show - ATONCE !

Price 45/- post 3,’- U S A . $9.00.

Il EDDIE JOSEPH’S
1 u r r - m

tation maker”.

You borrow a piece of silver paper (from cigar-

ette packet, etc.), and ask spectator to tear it in half .-
11 and io freely choose either half. His chosen piece

11 is screwed into a small ball, which he hoIds in the

palm of his hand. You tell himthat your powers .. ......

11111 bf “suggestion” will make him imagine the paper

PettinP
~- ..---warm
..
~ _.____
. . ~~ ~~ ~~~
..
. then hot then Hotter and HOTTER until it is too hot for him
-
to hold and it does, too! Ready to use anytime anywhere. Price 5/- -
Il C R A Z YS C I S S O R S
At the International Congress in Liege, we noticed that
the famous Dutch dealer Henk Vermeyden’s demonstra-
tors, w q e driving the boys mad with this one . . and
selling them like hot cakes. He very kindly allowed us
to offer the routine to you. You take a piece of paper,
-envelope, any old thing that may be found around and
\ cut it with a small pair of scissors. You hand the scissors

ma;, he just cannot cut the paper! You take back the
q\c
scissors and immediately‘cut h e paper. This can be re-
peated as many times as you like. You can do it . . they
..
I/B cannot! A real fun-making-mystifier ! Self-contained . . Readyto Work.
DOit right away. Complete with scissors and illustrated instructions.
Piice IC/-(postage I /-) U.S.A. $2.50.

198
 MARCONiCK and his beautiful Silk Magic
Great Success at the “MagicCircle
scored a
Festival Week of Magic” at the Scala Theatre
in London . . here are just a fewof his featured
items. All complete with Silks and Marconick
Instructions.

“FOUNTAIN OF SILKS“
An 18 inch silk is placed over the fist, then
from its very centre, appearsanother silk, then
anoher and so on until you have a real hand-
ful of silks of different colours, each of which
can be shown separately and (if desired) used
in other tricks.
Price f l . (postage 1 /-) U S A . $4.00.

” STRETCHING A SILK
A twenty-four inch Silk is tied by two corners to
form a Circle. It is then Stretched . . the circle in-
creases in circumference until a large ring of differ-
ent coloured Silks is held.
Price
- -
$2.-(postage
-
l/-)
-
U.S.A.
- -
$8.00.
- -

‘‘SILKS FROM SILK’’ A 24 inch Silk is shaken andanother appears at the bot-
tom corner. This is REPEATED SEVERAL TIMES until you have five large
silks each of a different colour.
Price f2/2/- (postage l / 6 ) U.S.A. $8.50.
“BLENDO” Four single Silks change instantly into one large Multicolour Silk.
Excellent method.
Price f2. (postage 1 /-) U.S.A. $8.00.
RAINBOW SILK AND BALLS. An I8 inch Rainbow Silk is passed through
the hand to produce in quick succession . . Four Different Coloured Balls.
Price 17/6 (postage 1 /-) U S A . $3.50.
TWENTIETH CENTURY ROPE 8z SILKS. Silks are tied, one each end of a
Rope. Another Silk is made to change Visibly to a Rope. . and the first piece of
Rope changes to a Silk (tied between the other two!).
Price 35/- (postage l /-) U.S.A. $7.00.
SILKEN BOMBSHELL. Fantastic VANISH of several Large Silks.
Price 55/- (Postage 2,’-) U S A . $11.OO.
BEWILDERINGSILKS. They Change places!
Price 25/- (Postage 1 /-) U.S.A. $5.00.
SILKEN FLASH. Startling appearance of a SILK between two others tied on
a Rope. Price lo/- (Postage 1 /-) U S A ($2.00.)
F
 WOW 1 THIS IS REALLY SOMETHING ! !
DELIGHTED PURCHASERS are tremendously enthusiastic about this one.
: They say that it is one of the finest pieces of apparatus we have ever put out . .
and that’s saying something!

FANTASTIC

MULTIPLYINGBOTTLES
THE
SUPER PRODUCTION
OF
NINE
BOTTLES
FROM
T W OT U B E S !
A Large Bottle and Glass each covered with an Empty Tube .mysteriously
,

change places! The effect is repeated, but to everyones surprise, another bottle
appears . . then another and another andso on until

NINE LARGE BOTTLES ARE PRODUCED ! ! !

Quite an astonishing sight . . one that is Guaranteed to produce Spontaneous
applause from even the most “hard-baked” audience!

Used by the “Stars” with Great Success . . a success which can be repeated by
YOU!
Made in METAL by a master-craftsman . . the Bottles are real beauties and
specially made for EASY HANDLING . . the Tubes areCHROME-PLATED . .
a REALLY SUPER OUTFIT made to the FINEST UNIQUE STANDARD . .
THE TOPS!
Very easy to do . . the Routine byKen Brooke . . is a honey!

Price E12. U.S.A. $40.00.

BY THE WAY . . the purchase of the above trick can be arranged through
our Unique No Interest Credit Scheme. Initial payment f5, followed by three
equal monthly payments of di2/6/&1.
 Volumt 7. No. 8. DECEMBER 1961

e -
o
0
L A

JIMMY
FINDLAY
 JEFFREY ATKINS (Past President of the British Ring, I.B.M.) writes . . . ‘‘ Many thanks for t h e
.
bottles safely received today . THEY ARE SUPERB. I f e e l that you have TOPPED EVERYTHING
with these . . they LOOK like bottles. Please find cheque herewith for S12 and count me as another
of your customers who rave over this WONDERFUL job you have made.”
This i s only one o r the many letters received from delighted p u d l u s e r s of THE NUMBERONE
TRICKINTHEHITPARADE.

FANTASTIC

MULTIPLYING BOTTLES
THE
SUPER PRODUCTION
OF
NINE
BOTTLES
FROM
T W O TUBES!
A Large Bottle and Class each covered with an Empty Tube . . mysteriously
change places! The effectis repeated, but to everyones surprise, another bottle
appears . . then another and another and so on until
NINE LARGEBOTTLES ARE PRODUCED ! ! !
Quite an astonishing sight . . one that is Guaranteed to produce Spontaneous
applause from even the most “hard-baked’’ audience!
l
Used by the “Stars” with Great Success . . a success which can be repeated by
i
I
YOU!
1 Madein METAL by amaster-craftsman . . the Bottles are real beauties and
I specially made for EASY HANDLING . . the Tubes are CHROME-PLATED . .
1 a REALLY SUPER OUTFIT made to the FINEST UNIQUE STANDARD . .
THE TOPS!
ENTIRELYSELF-CONTAINED ..
EASY TO DO . . Suitable
for Drawing Room . . Cabaret o r
Stage.CompletewithSHOW-STOPPINGROUTINE by KENBROOKE,

Price f12. USA. $40.00.

BY THE WAY . . the purchase of the above trick can be arranged through
our Unique No Interest Credit Scheme. Initial payment f5, followed by three
equal monthly payments of f2/6/8d.
-
N E WS U P E RR O U T I N E by K E N B R O O K E - - - - - -
Full of ENTERTAINING “BITS OF BUSINESS” . . packed with LAUGHS. lots of MYSTERY and .
a FINALWALLOPguaranteed t o bring a HOWLand spontaneous APPLAUSE.Many years of
PROFESSIONAL EXPERIENCE are behind this routine, which is so COMPLETE, it runs into FIVE
pages . . . with PatterandmanyIllustrations . . worth f a 4 ’ s in PERFORMING VALUE ..
yet the price is f l (U.S.A. $4.00.) for the ROUTINE ONLY . . B U T . . if you buy the UNIQUE set ..
it is quite FREE. If you already have our Bottles . . return the Original Instructions (we insist om
this) and we’ll swap them for this new one FREE.
 cc A HAPPY CHRISTMAS
AND TRULY MAGlCAL
N E W Y E A R TO YOU ALL”

For the third year in succession friend Frederica has kindly assembledexcellent material from hismagician
friends North of the Border to enable us to present another Scottish Issue. Many, many thanks Tommy, for
all the work you put in forthe good of magic. We also muchappreciate the kind thought of providing t h e
“write-up” for t h e Front Page Personality, a very popular choice.
It’s WHISKY in t h e Gen glass this month as we nameit to the Health, Happiness and continued success of
Jimmy Findlay-and a. “chaser” t o Frederica and the Magicians of Scotland.
LEWIS GANSON.

Once again i t is our pleasure t o feature on t h e cover, awell-known Scottish personality. This time none other
than the one and only Jimmy Findlay. Jimmy, is of course, well known as the possessor of what is probably the
finest private magical Library in Britain. H e is an indefatigable collector of all things magical and is a recog-
nised authority on magical history.
Jimmy has been a member of the Scottish Conjurors’ Association since its conception over 30 years ago and
has held various offices, such as Librarian, Editor, President, etc., and is now an Honorary Life Member of that
Society.
Magic owes a lot to Jimmy Findlay for he has authorised several booklets, written for many magazines and
his “Collectors’ Annuals’.’ a r e much sought after. A year or two ago he went on a successful lecture tour of
America. Jimmy performs many types of magic and performs well, but it is as a “coin worker” that he really
excels. At one timehealsodid a jugglingact!AlthoughanenthusiasticBridgeplayerand a keen T.V.
Boxing fan, his main pleasure is t o have a “blether” with “magic cronies” which is one of the reasons why his
hotelin theIsle of Wightis a favouriteholidayhaunt of magiciansandtheir fa.milies. There is always
plenty t o see, do and talk about at “ Fernbank”.
In the short space available, one can’t write all one would like, but everyone will agree, t h a t we in Scotland
have good reason t o be proud of Jimmy Findlay, collector-magician-author-and fellow Scot.

FREDERIGA.

CaNTENTS - - - - - -
From the Cen Desk - Lewis ‘Canson ...... 203 Necklace Necromancy - Ken Macfayden 214
A Snappy card P A u c t i o n - ROY Scott 204 Lewis Canson Explains -
Self Contained -Frederica ............ 205 A Tribute to Tom Sellers . . . . . . . . . . . . . . . . . . 215
ExtraSign Posts - Leslie May ............ 207 The Emperor and the Jewels -
Eddie D a m s ........................ 218
A Couple of.Cuties - Allan Jamieson .._.._ 209
Modern Head Cremation - 0-Yama ...... L19
Blindfold Location - Roy Scott ............ 211
Gathering of the Clans-Wm. ScottyLang 212 The Mixed up Magician -
Jim Craig ...... 221
Review - Harry Stanley . . . . . . . . . . . . . . . . . . 223
. .

THE GEN is published on t h e loth of each month by HARRY STANLEY, 14, Frith Street, London, W.1. -
Single Copies : 2/6: Twelve months
subscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
. . subscription $4.00.
LEWISEditor: GANSON. Editor Art : DENNIS PATTEN.
@ HARRY STANLEY 1961. Contributions a r e only accepted on thetermsthatthecopyright belongs t o
Harry Stanley.

203
 A SNAPPY CARDPRODUCTION
BY ROY SCOTT
CARD MANIPULATION is a restricted field which
requires hours of work before even a passable
performance can be achieved. Therefore, once a
move has been mastered, there is a marked reluctance
to alter it, possibly because the performer feels the final
effect is the same.

The production of a single card from the “back

palm” position may seem self-sufficient, but let’s ana-
lyse the action. The thumb pulls each card free of the
little finger. Without the restriction on the non-index
corner, the card springs flat, andgripped by the thumb
and second finger, extends backward and is partly vis-
ible.

To make the card fully visible, the. firstfinger is

extended, slipped to the back of the card and pushes
it fully into view (Figure 1 ) . The snap production
cutsout this half-visible portion. The beginner will
also find it an easier way toproduce one card each time.

With the cards back-palmed, the fingers bend at the

second joint (Figure 2 ) . The first finger is not bent
as much as the other three fingers and the thumb tip
touches the index corner of the first card.

The thumb presses on the corner and pushes (the

normal method pulls). This causes the card to curve
more than the remaining cards. Continue this push-
ing until the index corner is free of the first finger
(Figure 3 ) . The firstfingerslips between the face
card and the remaining cards (Figure 4). The thumb
now pulls the card over the nail of the first finger.
Simultaneously the whole four fingers straighten. The
face card, being held by thethumb and first finger, sud-
denly frees itself from the restraint of the little finger
and snaps into view (Figure 5 ) .

204
 SELF C O N T A I N E D

-
T H E EFFECT WHICH follows isanother of my favourite
close-up routines. It is easy, effective and ideal for
Derformine while sitting at a table. It is basically a “nest of
Y I
U
boxes” routine, but has all the snags ironed
out.Thereare no sleights or gimmicks,
and it is practically fool-proof.

EFFECT:
The performer is seated at a table with
spectators all around. He introduces a
paper parcel which is extremely well tied
up and sealed with Selotape which “criss
crosses” the parcelinall directions. The
parcel is placed well out of reach of per-
former, on the extreme right of the table.
A piece of ribbon is now clipped to the
parcel and a half-crown borrowed and
marked by the owner. The coin is rubbed
up and down the ribbon a few times and Can hidden
the coin vanishes. A spectator now opens by f~agers
the parcel (with somedifficulty) and inside
is found an inverted pint tumbler over the
mouth of the tumblell is a beer mat, attach-
ed by several strips of Selotape, and inside
the tumbler is seen a ball of wool. One
end of the wool protrudes through a tiny
hole in the centre of the beer mat. A spec-
tator pulls this end, and when the wool is
unwound a boxis seen in the tumbler.
This too issealed with Selotape. The
spectator frees the beer mat from the tumb-
ler and takes out the box which he unseals
and removes the lid. Insideis another
box also sealed, and inside that is yet an- (Note: The above is an exact descrip-
other. This is opened bythe spectator tion as seen by the spectators, yet, there
who finds the half-crown inside. It is are no sleights, moves or gimmicks, and it
taken by the owner who confirms it to be is all extremely easy. You can and will
the originally marked coin. use it, I’m sure.)

205
0 REQUIREMENTS :
Three circular boxes with lids. The
boxes must, of course, fit inside each other.
They can be made of wood, metal or plas-
tic. An Okito box with lidisidealfor
the smallest box.
You will also needone ball of rug wool ;
someSelotape; 2; feet of three-quarter
inch wide ribbon ; one pint tumbler; one
beer mat with ahalf-inch hole in the centre,
a half-crown and a small bull-dog clip.
PREPARATION :
Fix the half-crown firmly into the small-
est box by means of any good adhesive, or
you may be able to jam it in so that it can-
notcomeout. Place on the lid and seal
with Selotape. Place this intothenext
box, put on lid and seal and place this into
the third box and seal itup. Wrapthe
wool around the box until you have what
appears to be a ball of wool. Thread the
end of the wool through the hole in the
beer mat. Drop the ball of wool into the
tumbler and fix beer mat to the mouth with
Selotape. (A little piece of Selotape can
be used to hold the end of the wool against
the beer mat to prevent it slipping back
intothe glass.) Hold the tumbler upside
down ; wrap it up in a few layers of brown
paper; tie it with string and seal with lots
of Selotape. The ribbon has the little clip
attached to one end.
SETTING :
The ribbon is folded on top of the parcel,
which is on the table (or it can be on the
floor beside you until required).
0 ROUTINE :
Show the parcel and place it on extreme
right of the table. Take the ribbon
and lay it in front of you. Ask someone
to lend you a half-crown, but before giving
it to you,to markit in some wayso that he
will know it again. (He can also note the
date etc.)
206
Next, clip the ribbon to the top of the
parcel. Grasp the other end of the ribbon
with the left hand and hold it taut. Now
lift the coin with the right hand; display it
‘4
and say, You will know your coin again?“
then clench the fistover it. Now recap
andsay,“The coin”, open the hand to
show coin, then clench it again. Say,
“The ribbon”, raise the left hand and jerk
ribbon. “And the parcel’’-as you say this,
reach over with the left hand and touch
the top of the parcel. As your left hand is
stretching over to touch the parcel, the
right hand draws back to the edge of the
table and loosens its grip on the coin. The
result is, that the coin drops unseen onto
the lap. As soon as you have touched the
top of the parcel with the left hand, it goes
back and holds the ribbon taut. Immed-
iately place the clenched right hand over
the ribbon. Let the ribbon run through
the fist and slide the right hand up and
downthe ribbon. Say, “We’ll rub the
half-crown up and down the ribbon and
see what happens”. After the right hand
has moved up and down the ribbon a few
times, let it rest on top of the parcel for a
moment. Lift the hand a few inches
above the parcel, then slowly open out the
hand andshow empty. Askthe specta-
tor to open the parcel(ifwelltied and
sealed, lots of fun is possible). The tum-
bler is revealedwith the ball of wool inside,
Tell him to pull the end of the wool. As
he is doing this, you relax, hands on the lap
and regain the coin with the right hand.
Hold it in the curve of the second, third and
little fingers. Soon the box makes its
appearance, and more fun is created as
spectator releases the beer mat.
The box is taken by the spectator who
unseals and opens it. Inside is another box
which he also has to unseal and inside again
is the last sealedbox. This is unsealed
and the lid taken off.
Ask the spectator what is inside and he
naturally says, “The half-crown”. Take
the box from him by gripping it between
-(continued on page 2 1 0)
 Stanley and included in my programme isRolf Andra8
6‘
Extra-Sensory-Perception”.

Thisoutfit includes five E.S.P. symbol cards printed in

Black together with 5 duplicates printed in
Red, with, of course, that “certain some-
thing” enabling the purchaser to present a
convincing demonstration of paranormal
powers.

I have found this outfit useful for other

effects and have adapted several suitable
card effects to their use withthe result
that over the space of time I have built up
a lengthy, though flexible, routine with
these symbols, but have long wanted a per-
fect opener for it.

Such an introductory item appeared io

the “Double Daring” section of GENII for LLI
November, 1960, but though ingenious it
relied too much on double lifts to satisfy
my need for a strictly mental approach, in
which the detection of a sleight would have
wrecked the whole build-up. I also turned
up and experimented with Val. Evans’ ver-
sion of Extra Sensory Perception with the
Rhine cards in a pre-last war issue of the
Genii. Picking fromthe methods given
in these two articles and adding a tyist of - \
.L/-
my own, only made possible by the use of Order o f cards.
the two sets of different coloured cards sup-
plied by Harry, I evolved the following
I
which does not rely on sleights in any way.

This, I admit; will ‘not register very the E.S.P. cards, I have found it remarkably
strongly as. a single.item, but used as the effective. A strongpoint being that all
beginning of a strictly m_e_ntal~
routine, with action is carried out by the spectator.

207
 PREPARATION:
. Set up five E.S.P. symbol cards as fol-
lows. Readmg face down, from top :-
CIRCLE (Black).
SQUARE. (Black).
CROSS. (RED).
STAR. (Black).
WAVES. (BLACK).
(or LINES).
See Figure A.
TO PERFORM:
After a brief description of the Rhine
Symbols and their use in tests of parap-
sychology. Shew the five cards, casually,
back out-to prove their number. Square
them up and lay face down on
the
outstretched hand of a volunteer from the
audience. Announce that you are attempt-
ingto predict his thoughts.Ask him to
carefully go over the five symbols inhis
mind, and then to announce the shape of
one of the designs, i.e., Circle, Square,
Cross, Star or Wavy Lines.
According to whatever he chooses, you
proveyouanticipated his choice, as fol-
lows :-
(i) CIRCLE. Talkaboutthe mystic
symbolism of The Circle, how you are an
initiateintotheInner Circle of Occult
teachings, and how you sensed he had a
latent power which automatically qualified
him for admission to the Outer Circle.
Therefore as he named the Circle, he will
find that it is also outermost and command
him to turn over the top sign-It is the
Circle !
Alternatively, the Circle can be spelt-
one card being moved at a time from top to
bottom for each letter-C. I. R. C. L. E.
TEE LINKING RING in
A magic monthly magazine exclusiv-
ely for members of the International
Brotherhood of Magicians. Publish-
ed continuously since 1923. Averages
140 pages, illustrated, each month.
You do not have to belong to a Ring
208
The chosen sign arriving on the last letter.
(ii) SQUARE. Tell him to spell his
se1ection-S. Q. U. A. R. E. moving one
card for each letter-face down from the
top to bottom. After he has done so, the
Square sign will be found a t top of the
cards.
(iii) CROSS. Tell him he chose The
Cross-because subconsciously-his mind
recalled the greatorganisation of that name
-The Red Cross-and to prove it,tell him
to look at his cards, and he will find you
have anticipated his selection by inserting
one card-materially different tothe re-
mainder-The Red Cross.
(iv) STAR. Ask him to spell S. T.
A. R., moving one card from topto bottom
-face down. The Star will appear on the
last letter.
( v ) WAVES (or LINES-they’ve
both got five letters !) .
He is to spell, as at (iv) above-W. A.
V. E. S., and the correct sybmol will arrive
on thelast letter.
Properly presented this is extremely well
received. The audience, having no know-
ledge of the alternative means of disclosure,
assumethatthe spectator’s choice has
definitely been anticipated.
The reader can, of course, easily make
up a set of his own cards, coloured as re-
quired. If he does so though, he will un-
fortunately remain in ignorance of the
clever routine given in Rolf Andra’s effect,
to which my contribution above paves the
way for excellently.
to apply for membership the 1.B.M
Write for details and application form to :-
INTERNATIONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton. Ohio, U.S.A.
or W. G. STICKLAND, “ T h e Wand”,
Dudrbury Crescent, Ferndown, Domot.
 NO. ONE. “ T A N G L E ” -
Effect: A length of cord is hopelessly
tangled and knotted, but alittle magic, and
the mess sorts itself out slowly and myster-
iously.
Method: Takea length of heavy silk
cord about four feet long and hang it over
the left hand (cord against the base of the
thumb). The hand is held about chin level
and about a foot away from you, with the
palm facing the body, and thumb extended
but fingers together. The back portion of
the rope (at the back of the hand) we will
call “A” and the front part “B”.
Take the endof “A” and bring it to the
right of “B”, then over “B” and through
the loop thus formed. Draw “A” up
above the left hand. This makes aknot
across the palm. Let “A” fall andhang
in front, then move it to the right, swing
it under “B”, catch it with the right hand
and bring “A” up over the palm to hang
down at the rear. Again move “A” to
the right of “B”, over “B”, through the
loop and again draw “A” up above the left
hand. Let “A” hang in front, then bring
it over to the right and swing under. “B”.
Catch it with the right hand and once more
bring “A” up over the palm and letit hang
down at the rear. Once more take “A”,
bring it to theright, then over “B”, through
the loop. Draw “A” up to left hand, but
d
this time grip end of “A” between the first
and second fingers of left hand. Grasp
end of “B” with right hand. Now holding cord, but by gently pulling on the ends, the
end “A” firmly, gently shake the coils off mass loosens and unfurlsin a most pleasing
the left hand, or if necessary, assist them and fascinating way.
off with fingers. It is only a repetition of two moves; try
The result appears to be a hopeless it with a piece of cord or rope in your own
tangle of knots and coils in the centre of hands and you willexperience no difficulty.

209
I. No.
TWO. (Note : There is only one card in pock-
et.)
“SECOND SIGHT”
Method: The secret is simple but good.
The performer writes a prediction on a Most jackets have a ticket pocket in the
piece of paper and gives it to someone to outer right jacket pocket. You slit the bot-
hold. A pack is shuffled by a spectator tom of ticket pocket which now makes an
and spread out face down. Someone freely opening into the lining of the jacket. Just
selects a card which the performer places place a card into jacket pocket proper be-
in his jacket pocket, then aftera little fore starting. Write the name of this card
4‘
spiel” about second sight, etc., the spec- as aprediction and give to someone to hold.
tator is asked to read the prediction. The Have thepack shuffledand acard selected;
card is taken from the pocket by the spec- take it and place into your pocket. Actu-
tator and it is found to be the actual card ally, you place it into the ticket pocket and
predicted. so into the lining of the jacket. If YOU
like, as an afterthought, you can say, “Per-
haps you would care to initial the card!”
withdraw the card you originally placed in
your pocket. If your pocket has a flap
wide enough to crease a card, tuck the flap
in your pocket with the card underneath.
You can now take the contents from the
pocket and turn out the pocket lining and
show. Replace the lining and draw the
flap over the pocket as it should be.
The card, of course, falls into the pocket.
Carry on from there.

You can switch envelopes, coins, etc.,

by this means. If your jacket does NOT
have a ticket pocket, a little slit at the ex-
treme side of the pocket willdo just as
well.

SELF CONTAINED - (continued from page 206)

the thumb and forefinger of the right hand. were coming out of the box (a trial in front
As you hold it,rotate it tothe right by of a mirror will show you how deceptive
a twisting movement of the finger and this is).The boxisplacedcasually on
thumb(the borrowed half-crown is safe the table upside down, and as the coin is
and unseen in the curled fingers). Show being inspected, all the boxes and lids are
the box all round, letting everyone see the dropped into the tumber. Then the wool
half-crown inside, then ask the owner of and ribbonis stuffed on top. Everything
the coin to hold out his hand. Hold the is now out of the way of prying eyes.
box about seven or eight inches above his
hand, tilt the box forward and rotate it to NOTE :- You can use any vanish you
the left; at the same time, release the bor- prefer, but it must be a method in which
rowed half-crown. The result is that as the coin can be regained easily. The old
the half-crown falls it strikes the box and paper coin fold could be used with advan-
for all the world looks and sounds as if it tage.

210
0 REQUIRED:
A pack of cards including a Joker with a
crescent cut at both ends, making each
end a short. A silk scarf.
0 METHOD:
Through the continued popularising of -0xUIe

the Svengali and Trilby packs, magicians

realise that a riffle shuffle does not alter theleft hand. Ask him if he issatisfied or
relation of a short and the card immediately wishes to change his selection. Then he
below, but few seem to realise that this shows hiscard to the audience. Mean-
may be put to use when utilizing a short while you have riffled the pack with your
as a KEY card. The use of a double ended thumb. If you can findtheshort-(it
short means that irrespective of whether will “click”noticeably) , cut the short to the
the card is in the top or bottom halves of bottom of the pack. If notcutthe pack
the pack it willbe operative in the riffle and riffle again. It may be that the short
shuffle. is too near the top or bottom to find easily
The important discovery is that the riffle and the cut brings it to the centre where
can also be used to separate the Key card it is easily found. After this cut, if you
and the selected card. With the pack face find the card, you cut it to the bottom, but
down, the selected card is beneath the short if you still have not found it, you are set
but if the pack is turned face up the selected for a miracle because the spectator himself
card is above the short and it is an indiffer- has the short card. I will not detail the
ent card which drops with the short in the possibilities or presentation which can be
riff le. done if this short is selected, but any per-
0 PRESENTATION: former will realiseits advantages.
A silk scarf is given to a spectator who More usually a different card is selected
stands on your left. He is asked to blind- and you have cut the short to the bottom.
6‘

fold you. The scarfis more in keeping Tell the spectator, Place your cardface
than a ready-made blindfold and a handker- downon the cards in my lefthand”.
chiefis too small. Your preliminary pat- Slightly stress face down. Ask him to cut
ter is to the effect that everyone believes the packintwo. Here you ensurethe
you know cards so well you could do your pack lies on thefingers and you indicate the
tricks “Blindfolded”. Tonight you’ll palm to receive the original top half of the
prove them right and try it that way. pack. Then have him complete the cut.
After being bIindfoIded, the pack, still in Don’t have him make the cut as one move
its case, is given to the spectator to shuffle, or-unless he is a conjuror, he will knock
and he is asked to choose one card and give half the cards on the floor and you daren’t
you the rest face down on your extended upset your key card at this stage.
21 1
 Squarethe cards (thekey card and
the selected .card are near the centre) ;and
riffle shuffle. Repeat the shuffle. Spread
the cards faces before the spectator and ask
him if his card is there. He may or may
not see it, but this allows you to turn the
pack face-up without being too obvious to
the audience. Should they notice, it does
not convey anything to them, as being
blindfolded you can’t see the cards anyway.
With the cards face-up, riffle until you lo-
cate the short. If necessary make a cut
openly and deliberately to bring the short
to the centre. With the cards still face-up,
riffle tothe short. Break at theshort
(presuming you riff le with the left thumb,
this means the half in the left hand has the
short card facing you and the selected card
is in the right half and is nearest the floor.
Cards are still face-up) . Riffle thetwo
halves together, ensuring that the selected
card drops first from the right hand and on
the completion will be the top card of the
pack. As you riffle, ask the spectator to
watch and see if he can spot his card. His
efforts and expressions normally create
slight amusement. You thensquarethe
cards, turning them face-down in the pro-
cess and hold them in the left hand. Say,
“Will you Sir, for the first time, name your
card?”.As you make this request, the
left thumb pushes off the top card to the
left. The left arm is extended to the left
and held head high, the back of the pack
facing audience.
The first finger is slipped under the top
card; the second finger goes on top of the
pack which is gripped by the thumb as the
third andfourth fingersslide under the
selectedcard to help grip the pack. The
first and second fingers are straightened
and the selected card turned facing audi-
ence. “Am I right?”. Now whip off
the scarf and thank your assistant.

GATHERING OF THECLANS
BY WM. SCOTTY LANC
DO YOU LIKE Paul Curry’s Out bf this World?
Do you do it? Then you will like this one and
do it, they blend perfectly. But please do not read fur-
ther withouta deck in yourhand.
A set-up is necessary . . . . although complicated to
explain. I have watched members of Ring 49 perform
this successfully from theinstructions at thefirst attempt.
Set upfrom TOP to Face of deck . . . Ace of Diamonds
on top . . . King of Spades on bottom.

AD
- -~ 4s OD I OH
AH 7c OH 3c
1 oc 7s 5c 3s Warning . . . Always deal alternately in
1 os 2D 5s KD two heaps. Dealingfirst tothe left then
5D 2H 8C KH to the right . . . except on four occasions
5H JC 8s 6C mentioned below with the warning.
BD JS 3D 6s
8H 6D 3H 9c SecondWarning: Only deal onTwo
AC 6H . QC 9s Final Heaps when groups or heaps of six
AS 9D QS 4D or seven cards are picked up from the table
JD 9H 7D 4H for finaldeal.Rifflecardsfrom hand to
JH 2c 7H KC hand to show faces, but do not fan them.
4c 2s 1 OD KS Turn deck face-down and deal face-down

212
 alternately two heaps of twenty-six cards.
Now fan face-up heap on left with King of
Clubs at top . . . then placeface-down.
Now fan face-up heap at right with King
of Spades at top, then place face-down.
Deal heap at left into two alternate heaps
of thirteen cards each. Pick up left heap
of thirteen with ten of Clubs on top and fan
quickly, face-up . . . then deal two more
heapsface-down as you always do. You
now have on table, heaps of seven, six,
thirteen and twenty-six cards.
Pick up heap of 7 at left with King of
Clubs on top and deal into two piles. Place
them away from you to far side of table,
the position to be known from now on as
the two final heaps upon which cards are
eventually placed . . . but not until instruc-
ted.
Position of heaps of cards on the table at
present Two Final Heaps.
4 cards 3 cards
6 cards 13 cards 26 cards
Pick up heap of six and deal on top of
the Two Final Heaps. Deal left first.
Pick up heap of thirteen cards with Ace of
Diamonds on top and fan quickly and deal
this time First to right, then left, but not on
final heaps.
Position Now Two Final Heaps
7 cards 6 cards
6 cards 7 cards 26 cards
Pick up heap of six at left and deal on
Two Final Heaps. At this point the two
top cards in your Final Heaps are the Four
of Clubs, left . . . Five of Diamonds right.
Now deal First to the right with heap of
seven on Two Final Heaps.
Position Now Two Final Heaps
13 cards 13 cards
26 cards
, At this point you are halfway through
'. . . You repeat the moves again with the
second half of deck as you didwith thefirst
half . . . but let me guide you once.
Fan thetwenty-six cards face, they show
no preparation . . . something you cannot
do with Out of This World. Deal altern-
ately two heaps of thirteen cards but not
on final heaps. Pick up heap at left as
you always do in every case and deal again
heaps of seven and six.
Position Now On Table Two Final
Heaps
13 cards 13 cards
7 cards 6 cards 13 cards
Pick up heap seven at left with King of
Spades on top and deal on Two Final
Heaps.
Pick up heap six with Nine of Spades on
top and deal on Two Final Heaps.
Pick up heap thirteen and deal First to
right, then left, but not on final heaps.
Position At This Time Two Final Heaps
20 cards 19 cards
6 cards 7 cards
Pick up heap of six with Six of Spades
on top and deal on Two FinalHeaps.
Pick UD heaD of seven wiht Four of Hearts
on top and -(warning) deal F I R S T to
RIGHT, etc.
Nowyou have Two FinalHeaps of
twenty-six cards.
Now for a Double Climax:
( 1 )-Riffle cards quickly from hand to
hand (do not fan at this point) and show
left heap allblackcards.Do the same
with other heap and show allredcards.
Put. both heaps face-down on table, and
present a super climax.
(2)-Right and left hands simultaneously
turn over two top cards-both are Aces.
Continue that move, explaining that not
only have you separated the colours, but
that the suits are assembledin sequence
just as the cards came from the printing
press.
At this point, turn the remainder of the
cards face up in a fan across the table to
prove a miracle has happened.
21 3
 Points to remember: sleights required, but a false shuffle here

Two Final Heaps : explaining,

the
but effect is -accomplished
as fast as you can deal cards. It reminds
When you deal, First to Right, then left, me of a radio, difficult to the originator,
YOU are all set for Outof This World. No but anyone can play it.

NECKLACE NECROMANCY - BY KEN MAGFAYDEN

EFFECT:
The performer borrows a lady’s necklace
n (one with nylon thread is most popular
these days).He places the beads in a
glass, cuts off the bottom knot and pulls
out the thread, leaving the loose beads in
the glass. Taking up theglass he “drinks”
the beads into his mouth, then rolls up the
thread and also places it into his mouth.

-1.
to-
0 The beads are then pulled from the mouth
-restrung.

METHOD:
A thumb-tip in which is a long piece of
thread is onthe left thumb.Hangthe
beads in straight line in the glass; pretend
to cut the bottom of the thread, then simul-
taneously lower the beads into glass, and
with the right hand pull thread upwards
from the thumb-tip. The illustration
number two will make this action clear.
Note by Frederica. I would suggest
that rather than place the necklace in the

c
mouth, the thread should be rolled up into
a little ball. Drop it on the floor or table-
top, but pretend to place it into the glass.
Shake up necklace in the glass and toss it
fromthe glass and catch withtheother
hand.
The thumb-tip justhas a hole punctured
on top. Woolworth‘s sell these nylon
thread gadgets for restringing beads.
Load tip with oneof these then armed with
a pair of scissors, look for a nice blonde
wearing a necklace (threaded type of
course), andyou are all set!

21 4
 So Tom's ideas will live on to benefit magicians and to the hundreds already in print, we add the following:

ONE - COIN
TRANSPOSITION 5\03

This transposition is purely mechanical

and may suit any non-sleight-of-hand per-
former.
n-
Effect: Six coins are counted into a
tin resembling a child's bank. Another
six are counted on to a cloth. Three coins
are now made to pass from the tin to the
cloth. When counted, there are three in
the tin and nine in the cloth.

Requirements: A tin like the one

shown in Figure 1. The tin is in two
sections, viz. an outer and an inner part.
The inner part has a fairly wide slot cut in
the top andhas a container soldered inside,
see Figure 2. It will beseen that any coins
L
dropped in front of the slot will fallinto the
container, and any dropped at the rear of
the slot will fall into the outer box. You
will now have to make a miniature flap
banner six inches square or so from black
cloth, see Figure 3.

21 5
 Preparation. Place six coins intothe
outer box, then slide intheinner box.
Place nine coins under the flap of the ban-
ner as shown in Figure 3, then place six
coins in a glass which will be standing
alongside the banner.
(b) Make a cardboard candle (to nest
in the case) with a recess at one end to
take a piece from a real candle, as shown
in Figure 2. At the open end, insert a
cardboard ring, the top edge of which is a
fraction of an inch down from the top.

Method: (c) You also need a disc of white

Open the tin, then pour out thecoins into paper the same diameter as the inside of the
your hand. Close the tin then count them candle ; a four-inch square of tissue paper
back into the tin, putting them through the and an elastic band.
slot as you count them and see that they
all g o into the outer tin. Open the tin
again,pouroutthe coins, and close the
tin. When you countthe six coins into
the tin the second time, see that three g o
into the container and three into the outer
tin. Go over tothe glass, tipoutthe
coins and count them as six on to the ban-
ner. Gather up the four corners and low-
er all into the glass. Make the three coins
pass from the tin to the banner. Open the
tin, lay inner part aside, tip out the three
coins thenshowthe tin empty.Count
them back into the tin, one-two-three.
You then remove the banner, open out the
proper flap, pick up the coins one at a time
and count them, one to nine, into glass. the

NOTE:
This type of box is also of use for forc-
ing billets for a mental routine.

TWO - HANDKERCHIEF',CANDLE
AND CASE:
Effect: This is thesameasthe usual
candle and case trick, wherea candle is
placed into a nickel case then a handker-
chiefis vanished and found in the case
instead of the candle.
In the following method, everything can
be made from cardboard; in fact, if you
use postal tubes, most of the work is al-
ready done.
Requirements: (a) A tubular card-
board case as shown in Figure l .
Preparation: Place a duplicate of the
silk you intend to use inside the candle,
then with a little adhesive, stick the paper
disc on to the edge of the ring inside the
candle.
Method: Pick up the case and prove it
empty. Take the lighted candle, blowit
out and insert it into the case. Then show
the case end-on to spectators and the paper
disc will be taken for the end of the candle.
Place the square of tissue over the end
of the case and hold it in position while you

21 6
slip the rubber band round it as shown in
Figure 3. All that remains to be done is
for the silk to be vanished then the paper
to be broken and theduplicate silk extract-
ed from the case. A duplicate candle
can be taken from your pocket.

THREE - COLOUR
ELIMINATION:
This little stunt with the fingers may be
interestingas an “ice-breaker” for some
small tricks to follow.
The effect is that you show eight little
coloured tubes on thetips of your extended
fingers. You then interlock the fingers
and have a colour thought of. You keep
interlocking different fingers and asking
thequestion: Do you seeyour selected the answeris “Yes” interlock all the fingers
6‘

colour?”. You finish by naming the except the first finger of the right hand.
colour. This finger will be hidden. Thensay:
Do you still see your colour
4‘
If “Yes”,?’l.

Requirements: Eight little tubes (thin then you know it is the one on the second
cardboard) made to fit each of your finger- finger of your right hand. If the answer
tips. These tubes are all different colours is “No”, then you know it is the one on
(seeillustration). You can use thimbles your first finger. At this point, you name
painted the various colours. the chosen colour. There are really only
three moves in the whole affair, no matter
Method: Place thetubes ontoyour whatway you like totakeit.The first
finger-tips, then turn your hands palm- move tells you if the colour is on the first
down and interlock the fingers. The or second fingers of either hand, or if it is
eight colours will now be showing. Re- on the third orfourth fingers of either
quest someone tothink of a colour. When hand. The next move reduces it totwo
this has been done, separate the hands thenfingers and the third move to one finger.
interlock the first and second fingers of Should the selected colour be on either of
each hand only. Say: “Do you still see the third or fourth fingers atthe first
your colour?”. If theanswer is “Yes”, question,theanswer will be “No”, but
interlock the third andfourth fingers of you just use the some movesfor the second
each hand, conceal the first and second and third questions, using thethird and
fingers of the left hand and show the first fourth fingers for them instead of the first
and second fingers of the right hand. (Six and second. A little practice and you
thimbles will now beshowinq). Then should get the idea, then be able to run
say:
‘6
Do you still seeyourcolour?”. If through it quickly and smoothly.

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21 7
 THE EMPEROR AND THE
JEWELS
BY EDDIE DAWES
(Scottish Conjurors’Association)

A NOVEL VARIATION of the Cords of Phantasia by

Dr.Hans van Baaren appears in Rice’s Encyclopaedia
of Silk Magic, Vol. 2, page 536, in which silks and a wand,
tied to two ropes and placed in a box, are magically released.
What follows-is merely a further variation
on this basic theme but slanted for child-
ren. Pleased with his security arrangements,
the Captain of the Guard invites the Em-
peror to view the treasure. The Emperor
0 PLOT AND ACTION : is not impressed, since the jewels are still
clearlyvisible to everyone. The Captain
The wicked Emperor covets the jewels then introduces a box, decorated to look
of the beautiful Princess, and so his hire- like a jewel casket or strong box. It has
lings steal them. He is afraid thatthe holes in the four sides as in Figure 111. The
Princess’s Court Magician will attempt to baton is placed through the centre holes,
recover them, so a method is devised for the jewels slid along to the middle of the
their safe keeping. ropes and laid in the casket. The ends of
the ropes are taken from the soldiers and
The jewels are shownpiled on a cushion. threaded through the end holes of the box
The Emperor sends for his Captain of the from inside to outside. The ends are re-
Guardand commits them to his care. turned to the assistants once more.
Should he fail, he will forfeit his head!
The chest must be madesecure from the
Like all good officersthe Captain decides Princess’s magician, so one rope from each
to delegate his duties to two trustworthy soldier is tied firmlyover the lid of the box.
private “soldiers”, recruited from the The soldiers now hold both their ends firm-
audience, who are suitably decorated with ly. (See Figure IV.)
soldiers’ hatsand medals. After byeplay
of marching, saluting, etc., further situa- The wily Magician makes himself invis-
tion comedy is provided by the two equal ible, and even though the guards are strong
lengths of rope which are now shown. All and the chest secure, he removes the baton
the usual bits of “ropey” business (and and walks off with the casket containing all
even vanishing knots) can be introduced the treasure. The soldiers are left still
here. holding tightly to the ends of the ropes.

The ropes are tied round the Officer’s

baton (see Figure 1 ) in the normal “Cords
of Phantasia” method and the “soldiers”
hold the ends. The fabulous Woolworth’s
necklaces and bracelets arestrung over This routine offers plenty of scope for
each end of both ropes. (See Figure 11.) the performer to dramatise the characters
The “privates” are told to guard them with of Captain, Emperor and Magician which
their lives. he plays alternately, by suitable change of

218
voice and mannerisms. The necklaces
have the great advantage that, in addition
to being extremely colourful and providing
a logical fairy tale, even the youngest child
can thread themeasily over the ropes.
Tying knots in the more usual silks can be
a ‘lengthy, tedious andoften impossible
task for a child.

REQUIREMENTS:

I -Two ropes about twelve feet long.

2-Officer’s baton or suitably painted
dowel rod.

3-Collectionof cheap “glittery” neck-

laces and bracelets.

4-Cushion for displaying jewels.

5-Box with hinged lid, and four holes

of suitable diameter to take baton
and cords, decorated to represent a
casket or chest.

6C-ldiers’ helmets or hats and medals

for dressing up the assistants.

MODERN.HEADCREMATION
. . BY 0-YAMA

FELLOW MAGICIANS, this effect which I am going

to describe to you is a Head Cremation, which
issimple to work. I find it has good audience appeal,
and hope you can find some use for it in your act.

Effect: A young Lady’s Head is covered with an

empty tube, performer places a flaming torch into the
tube and flames issue forth-the Lady’s Head is burning
219
 he extinguishes the flames and withdraws
the Lady’s Head whichis shrivelled and
shrunk. He replacesit into the tube, and
pours in a little “Nut Growing Fertiliser”,
this restores the Lady’s Head to normal
and she is none the worse for her ordeal
by fire-A spectacular and yet easily
carried Illusionette.
220
Requirements:
Tray. First we have atray, this is a
piece of wood large enough to cut a slot
in the centre to put around your assitant’s
neck. You will see by Figure 1 it issimple
to make.
Tube. The tube is made with tin. The
simplicity of construction can be seen in
Figure 2. It must bebig enough to go
over the assistant’s head with comfort.
Paint the tube black inside, so that when
you display it to the audience they will not
see the hinged flap three quarter way up
the tube. When this flap is closed, it
leaves a compartment at thetop of the tube
and one at the bottom. Make surethe
bottom compartment is completely sealed
off from the top. The flap has short pieces
of soft rope which have been soaked in
paraffin, secured to the flap by metal clips.
Make sure you shake off excess paraffin.
Shrunken Head. The shrunken head is
hanging on theback of the assistant’s chair.
This head can be bought from most dealers.
Nut Growing Fertiliser. This is a large
packet with the words “Nut Growing Fer-
tiliser’’ printed on it. The packet isbe-
hind assistant’s chair, and out of sight.
Method and Routine: The stage is set,
your assistant is sitting on a seat approxi-
mately centre stage. On your table rests
the tray which has a slot cut out of it.
Youalso have thesquaretube which
has open ends, and a lid to fit over the top.
Performer indicates the apparatus on his
table, he then lifts the tray and slides it
round her neck, the assistant holds it
steady. The performer then displays the
square tube before he places it over her
head to rest on the tray. ( A s he puts it
over her head, he secretly drops the hidden
flap into position.) He then lights a torch
and waves it about for effect. He places
the torch in the open end of the tube, and
flames burst from the top of the tube. (In
fact he lights the paraffin soaked rope.)
 Performer then puts the lid on the tube.
(This extinguishes the flames.) He then
takes the lid off,puts his hand in, and pulls
out a shrunken head. (The head is taken
from behind the chair and palmed into the
tube.) He then putstheshrunken head
back in the tube. Next he takes a packet
with the words “Nut Growing Fertiliser”
printed on it. The performer sprinkles
some of the contents into the tube, at the
same time giving the audience a chance to
see the big printon the packet. He re-
moves the tube from his assistant’s head,
showing it still the original shape and size
(youhope).The performer then takes
his bow.

-
I have used- the routine very successfully
seasons.

EFFECT: Rope” ; in fact, he writes down “Old Rope”

on a large slate so that they will remember
Three children are asked to assist. The the mistake. As the silk is not between
performer invites one of the children to the silks, he ‘must have passed it into the
select an orange from a bowl and place it empty box, but when this is opened a small
in his or her pocket. night-shirt is found. By this time the
magician is bewildered and writes down “A
Night-shirt” on his slate. He informs the
Two silks are tied together and given to children that he will have to produce the
oneassistant; an empty box toanother, silk from the empty bag. When the
and an empty bag to the third. The per- assistant places his hand in the bag there
former now takes a coloured silk and in- is no silk but a Green Egg is found. This
forms his audience that he will make the is also written on the slate. The magician
silk vanish and appear between the two now appears at a loss until he looks at the
tied
silks. The silk duly vanishes but slate and sees that the first letters of what
when the silks are shaken, a piece of rope he has written spell Orange, so he states
is found to be tied between them. that the silk is in the orange in the assist-
ant’s pocket. When this is cut open, the
The performer appears to be very an- silkis found inside. The assistants are
noyed with himself and the assistants, and now given an orange each and themagician
informs them that he did not require “Old takes his bow.

22 1
 0 METHOD:
The Props. required are:
Two eighteen-inch silks.
A piece of rope eighteen inches long.
Two matching twelve-inch silks.
A Drawer box.
A piece of pyjama cloth cut out in the
shape of a night-shirt.
An egg bag.
A wooden egg painted green.
A large slate.
Chalk and oranges.
The method for producing the silk from
the orange I leave to the individual, I my-
self use a marketed effect which allows me
to produce the silk from any orange, but
the routine is just as effective by loading
in the silk beforehand and forcing the
orange. The working of the trick by now
is self-evident. The piece of rope has a
matching piece of silk tied to one end, the
other end is sewn to the corner of the silk.
The silk is now wrapped round and the
rope is hidden in the folds. Whenthe
other silk is tied to this it is only tied to the
fake corner piece.
I think the onlyother point is the writing
on the slate.
I think that the sketch clears that up. 1
trust that some of the readers will try this
routine out and I wish them every success
with it.
~~

HOT FROM AMERICA ...

Just heard fromLOU TANNEN that on December 5th he sent US a supply of the
eagerly awaited
PROFESSIONAL CARD MAGIC Green
It’s a really grand book . . New Sleights and Tricks . . don’t miss it ! !
Price - 55/- Postage 1/6

222
 THE SCOTTISH
BOYS OHDEAR,THEY’RE AT IT AGAIN.
are a grand lot. Once again, prompted by Most folk had hoped that, as the majority
our good friend Frederica, they have come of the “naughty-little-circles-accused-of-
up with another fine isue . . thanks chaps! title-pinching’’ had given the right royal
raspberry to the top brass in Euston Road
JUDGINGFROMYOURLETTERS for flourishing the big stick at them, that
you seemed to have enjoyed theNew York common sense would prevail and the hoo-
City number last month. A big “thank hah allowed to die a quiet death . . but
you” to Bill Simon and Faucett Ross who
made it possible.Bill recently sent me NINE MONTHS AFTER
word about a new and exciting venture
thethreatening letter was sentto these
4‘

TANNEN’SSCHOOLOFMAGIC bounders”, the whole business flares up

again, with another thrust by the “estab-
with the “Professor” himself, Dai Vernon, lishment”. MagicCircle members were
in charge . . Five different courses . . each recently sent a copy of the original letter
course consists of five class-room meetings and asked whetherthey think a special
. . each meeting runs one-and-a-half hours. meeting should be called to discuss it . . are
Another semester (Bill say’s that this is a they in agreement with the action taken
“high class woid” used by scholars like and should “further action” (the “threat”
him), will start theend of January and yet of dire consequences if members “mingled”
another around mid-March. This, plus with the“outsiders”) be taken? Many
lectures, seminars (two day classes held in Circle members are delighted with the
various cities), club dates, barmitzvhas Council’s new foundenthusiasm for
and what have you,will keep the “Profes- democracy, but wonder why it hadn’t been
sor” very busy indeed . . Good Luck Dai! done in the first place . . it would have sav-
ed a lot of unpleasantness.
AMERICAN
MAGICIANS
ARE LUCKY A VERY PROMINENT MEMBER SAID
tohave men like Lou Tannen and Bill I have been giving lectures and shows to
‘ I

Simon, organise for them, the opportunity societies up and down thecountryfor
to learnmagic from a genius like Dai Vern- years . . many of their members are person-
on. Actually, I’m a bit “mad” thatthe al friends . . if the council carry out their
“Harry Stanley of America” (Lou), has original threat . . I will have to say “no”in
beaten me to the punch (for a change) . . future, if a society is one of the “little-
A “School of Magic” is something I have circles” . . otherwise, I will, presumably,
long wantedto put over, but never got be “drummed out” of the Big Circle”.
round to it . . I may, someday! What a spot to put this member on . . a
man whose name is a household word and
AN
UNUSUAL SPECIAL ISSUE has done so much good for magic.

is forthcoming in the New Year . . we have I SINCERELY HOPE

in hand, a complete number compiled by
Herr Hans-Gerhard Stumpf, editor of the that common-sense will prevail . . I cannot
“Zauberkunst” . . tricks by members of the see what good this “battle” can dofor
“MagischerZirkel der DeutschenDemo- ‘‘The Magic Circle” in particular or Magic
kratischenRepublik” . it looks okay too! in general.
223
 THE REMARKABLE SUCCESS pretty young lady. . result of a fan letterhe
received on his T.V. appearance in “Sun-
of our Multiplying Bottles is due to their day Night at the London Palladium . . an
exceptional quality. . it really is a Smashing interesting storyI’ll tell you one day!
Trick . . quite the best of the Year. Many
chaps are particularly pleased that I gave CEN contributor, James Dodding is do-
them an opportunity to buy them on “cred- ing his stuff ‘in the ‘movement’ and ‘voice’
it terms” . . it gives them a chance to ac- department andwhatwith visits to the
quire a good ’un, theprice of which would tailor (the best in thebusiness)photo-
otherwise“frighten”them. KenBrooke grapher (ditto), music arranger (also
has just written up a new master routine ditto), flat hunting . . rehearsing, news-
with lots of illustrations and patter . . Al- paperand publicity interviews . . life is
though worth at least & l on its own . . pretty hectic. Addingto this, of course,
and that’s the price we charge anyonehav- is theconstantlyringing telephone . .. .
ing another make of bottles . . it is given agents, impressarios . . contriving, arrang-
FREE to“Unique”buyers. If you have ing, bargaining and all the dozen and one
a set . . . send youroriginalinstructions etceterasthat go with this thing called
along and we’ll swap it in for a new one. show-biz . . l am tickledto death thatfor the
first time in mymemory a young British lad
is hitting the high spots . . it’s about time!
I DO HOPE
that our new Cupswill encourage those of VARIETY CLUB
youwho donot performthe Cupsand is a powerful International Show Business
Balls, to take itup.When I was a lad, Organisationandthe British branch (of
you could hardly call yourself “magician”
which I have been a member for many
if you didn’t do this trick. Contraryto years), recently had their Annual Election
popular belief, it is not a difficult one to
Dinner at the Savoy Hotel . . Johnny was
learn, providing you have good apparatus in theAll-starCabaret.The audience
. . routine and a little patience. I bet that comprised of top executives, agentsand
if you get our new Cups, the VernonRou-
artistes from T.V., Stage and Screen . . a
tine and put in a little work, you will sur-
prettytoughlotto face . . menofthe
prise yourself . . have a go! world, who have beeneverywhere and
seen everything . . yet, after the show, we
received from them the following ( I
JOHNNY HART quote) . . “I can scarcely remember any
is going from strength to strength . . with artiste receiving a greater ovationthan
a year’s solid booking in front of him, he’s which greeted yourperformance. Your
really going places. His programme has act was superb.
Congratulationson
been prepared very carefully, starting with the exceptional quality . , ” That’s some
choice “one-night-stands’’ at leading Lon- tribute!
don Hotels,which gives a chance to watch,
discuss and polish, frequently. In this, BY THE TIME
the help of friend Alan Alan is invaluable
. . and he hasproved what a good sport he we meet again on this page . . the New Year
is, by acting as Johnny’sassistant on a will be with us . . May You and Yourshave
couple of occasions, so that certain aspects a wonderful Christmas .. Mayyouryear
could be studied more closely. In what be full of Good Health, Happiness .. and
other branch of the profession would you Good Magic.
get a top-class pro. helping a new-comer in sincerely,
this way?Johnny is now assisted by a HARRY.

224
 ALAN ALAN’S
TOM THUMB SWORD BOX
A Classic Illusion that can be carried in the Pocket!
The Tom l’humb Sword Box is a miniature version of t h e famous Sword
Cabinet. In place of a girl assistant, the victim is your thumb or finger,
through which you push Fifteen Sharp Swords!
The action takes place inside a beautiful red and black perspex sword
box (size approx. 2 ins. square), made t o fit on thethumb.Whenthe
thumb has been penetrated from all directions the cabinetis turned show-
ing the audience the inside, and to their amazement they see a mass of
swords. Butthethumbhasdisappeared. Two impactsinone effect!
Absolutely safe and easy to perform ; ideal for close-up performance-
the nearer the better! A glistening perspex cabinetcomplete with fifteen
swords and full instructions. A Quality Product.

Price - Sl/l/- postage 1/6

EYE-SPY
A pack of cards is thoroughly SHUFFLED by SPECTATOR ...
making it obvious that you CANNOT possibly Know ,the ORDER
of the cards. They are placed in a box. Saying ..
my little Eye” you look through a CLEAR PLASTIC ROD (solid)
I Spywith
towards the box and call out the aame of a card .. then another
and another. SPECTATOR o m s the box, removes the top three
cards .. you are RIGHT. You give himyour “magic eye” rod.
he looks puzzled ..
.
He puts it to his eye, say’s . “I Spy with my little Eye” .. ..
but
“What’s up?” you ask. H e replies “I can
s e e NOTHING!” H E opens the box, takes out top card .. it is
BLANK!. GOOD MYSTERY ..GOOD FUN .. NO SLEIGHTS
.. DO ITRIGHT AWAY. CompletewithniceCard Box (Red
Leather Top, tastefullyornamentedwith Gold Scrolls), Plastic
Rod, Blank Cards & full instructions. Use your own pack of cards.

Price 12/6 (postage l/-) U.S.A. $2.50.

EDDIE JOSEPH’S

“HOT PAPER“
A Great “impromptu” trick . . and a great “repu-
tation maker”.

You borrow a piece of silver paper (from cigar-

ette packet, etc.), and ask spectator to tear it in half
and to freely choose either half. His chosen piece
is screwed into a small ball, which he holds in the
palm of his hand. You tell him that your powers
of “suggestion” will make him imagine the paper
getting warm . . then hot ..
then Hotter andHOTTER until it is too hot forhim
U

.. -
to hoi’a and it does, too! ’ Ready to use anytime anywhere. Price - S / -
II’ -VI

225
 A BRILLIANT piece of apparatus for the production of DOVES ..
RABBITS . . FRUIT o r SOLID ARTICLES and tremendous quantity of
SILKS.
A nicely decorated box (size 12 inches by 9 inches by 7 inches), with
open-work front, is seen to be EMPTY. A thin Panel is shown BOTH
SIDES,then placed intothefront of the box. I t can be removed im-
mediately to reveal that the box is now FILLED almost to overflomwing
with desired “load”.
.
Completely SELF-CONTAINED . SO EASY TO WORK ..
you can
workitRIGHT AWAY.

Price f3/3/- post 3/6 U.S.A. $12.50.

PERFECTPRODUCTION BOX
JOHN RICE
Beautifully made apparatus using a wonderful principle, makesthis
production box justPERFECT! The handsome box . . size approxi-
mately 16 inches by 9 inches by 9 inches is shown to be perfectly empty.
A THIN panel (with a ? painted on one side),isshownALLROUND
(there is no “load” fixed toit)andis placed intothe box . the .
audience s e e it distinctly RIGHT AT THE BACK OF T H E BOX. Magi-
cian closes the box, then immediately opens it again . . and there is a real
Rabbit1 or Doves (yon can use imitatiopis if desired) .. .
or . you can
.
produce an incredible load of Silks . Flowers(realorimitation)etc.
You can go right u p t o a member of the audience for them t o remove
the load .. .
without the slightest fear that the s s r e t will be exposed . it
. is a magnificent method .. a delight to show, and work. Easy to do . .
Entirely self-contained, can be worked surrwnded, in the middle of a cabaret floor .. . Perfect for
Dimer and Drawing Room shows.

Price S4/10/- Postage 3/6 U.S.A. $17.00.

AND/OR
PRODUCTION BOX
TWO EFFECTS IN ONE!
“BUILD-UP
PRODUCTION”
Thin pieces of wood, the component parts of the box,
arelying Flat onthetable.Theyare pickedup,one
piece at a time, and each piece shown BOTH SIDES as
the box is built up.
Whenthebox is completelybuiltup it is possible,
without further ado, to reach inside and produce a Rabbit
or Doves or a Silks “M”.
“BREAK-DOWN VANISH”
In this effect, the box is already assembled resting o n
table.“Load” is placedinsideand lid closed.
Box is now “Broken-down” piece by- piece, each piece being s h o w bo& sides as it is
discarded. T o emphasise to the audience that they have seen both s i d e of each piece,
Inside andOutside of box is finished in ContrastingColours. When box finally dk-
mantled, “Load” has vanished!
Decorated handsomely it will look well in any act. The working is simple and clem-
cut. Complete with FullyIllustratedInstructions.
Price 50/- Postage 3/6 U.S.A. $10.00.

226
 “ DE-LUXE MODEL”

F’LOATINGBALL

~ ~ ~ ~ ~~

HUMAN GASOMETER
You show a length of clearPlastic FLEXIBLE
Tubing. . a neatbakelite mouthpiece on oneend and
small metal band on the other. Saying that you had
‘4
filled up” at the local gasworks, you twist your ear
(to turn the gas on), blow gently through the tube,
apply a flame (match or lighter) to the other end
and a flame bursts forth! Another twist of the ear
(to turn the gas off) and the flame stops ! ! This can
be repeated. A most unusual . . amusing . . and
mystifying trick. Entirely Self-contained. You can do this rightaway . ...
Nothing to Break . . Nothing to go wrong.
Price 17/6 (post 1 /-) U.S.A. $3.50.
~~~ ~~ ~~~

MARCONICK’S
COLOUR-CHANGE ROPE
Exactly as used by himin his First Prize Winning
Routine at the International Congress in Liege and
at the Magic Circle Festival Week at the Scala
Theatre. A piece of White Rope (about 30 inches
long) is held outstretched between the two hands . .
Note . . the Ends are in full view. Passing a hand
.
along the rope . . it Visibly Changes Colour. com-
..
pletely to Red and please Note this-the Ends of
the Rope are in Full view!!! This Eye-popping
trick can be performed immediately. No “Pulls” . .
(6
get-aways” or Sleights of any kind.
Price lo/- (postage 6d.) U.S.A. $2.00.
-
 x, A C H R I S T M A ST R E A T -

0 SOMETHING NEW
IN
CUPS
and BALLS
BRILLIANTLYDESIGNED - only THREE INCHE!
HIGH, with wide recessed top and particularly wide mouth
so that you can use really LARGE objects for final surprisc
load.
Have a look at the illustration and you will see that the]
are of a DIFFERENT SHAPE to the Conventional cups .
nestsnuglyand will suit EVERYBODY.Whether yor
use sponge, cork or r u b b balls ..
whetheryour “fina
load” uses Chicks, Vegetables, Fruit or Large Tennis Ball:
.. .
they can be accommodated comfortably . no trouble ai
all! A JOY TO HANDLE ..
experts say the
Unique “SHORTIES” are the BEST THEY HAVE EVER
SEEN !
BEAUTIFULLY SPUN in POLISHED COPPER or Special LIGHT-WEIGHT METAL ..
Chrome
finish.
Price 50/- U.S.A. $10.00,

If you want to make a real fuss of yourself buy the ..

SUPER DE-LUXE SET. The cups are Beautifully Engraved . . the classi-
est-looking job ever offered to the fraternity!
. Price 23/7/6d. U.S.A. $13.50.

AND.1.F YOU WANT TO GO THE WHOLE HOC ..here’s a lovely item to really complete the outfit
SUPER-WMD - One of the most beautiful effectsin the Dai Vernon Cup and Ball
routine is the amazing vanish of a ball, accomplished under the
misdirection of spinning a wand between the fingers. You must
havetheCORRECT type of Wand ..
AND THIS IS IT! BeautifullymadeinLight-WeightMetal
.
.. . with Black ends (polished wood) . Unscrews in the Centre for ease of packing. Of course this ..
beautiful wand can be used generally.
You may think it “pricey” . . but . . the Quality is Superb . . and a good looking wand does enhance
a magic performance . . and it’s so useful too!
Price 25/- U.S.A. $5.00.
. ~ . _ _ _ _ _ ~ _ _ . -~ - . - .-..

0 DAI
VERNON’S
C U P S a n d BALLS
Acknowledged t,he world over t o be the GREATEST EVER. This scintillating Routine is used by
the stars . . Superbly written and Illustrated with Seventeen large photographs by Lewis Canson, i t
enables even a beginner t o master the great classic . . the most completely mystifying magical routine
t o survive through the ages. Printed on heavy art paper . . a beautiful job!

Price lo/- U.S.A. $2.00.

EXCELLENT for Cups and Balls

CROCHETCOVERED BALLS ant1 alltricksrequiring asmallball
(one-inch in diameter) which “hand-
les” well, having “weight” and “feel”. We sell them in White - Black - Red and G m . . specify
which colour required.

Price - 5/6 plus 6d. postage per set of Four. U.S.A. - $1.W.

Rackhoune & Britton (T.U.Ptrs.), Phoenix Wks.,Sungate, Peckham High Street, S.E.15.
 4

...- , _ _ . _, , ~.
l
JOHNNY HART VO~UIII~
17. NO. 9. JANU-ARY1963
lil
0 ‘‘ MARVELLOUS”writesfamousFrench Magician
DANYRAY about our new Cups and Balls Outfit.

Unique \\ SHORTIES ‘I

0 SOMETHING NEW IN
CUPS and B - U S !
BRILLIANTLYDESIGNED -
only THREEINCHES
HIGH, with wide recessed t o p and particularly wide mouth,
, so that you can use really LARGE objects for final surprise
load.
’ Have a look at the illustration and you will see that they
are of a DIFFERENT SHAPE to the Conventional cups ..
nestsnuglyand will suit EVERYBODY.Whether you
..
~

use sponge, cork or rubberballs whetheryour “final

load” uses Chicks, Vegetables, Fruit or Large Tennis Balls
~

~
..they can be accommodated comfortably
all!AJOY TO HANDLE ..
experts say the
..
no trouble at

~ Unique “SHORTIES” are the BEST THEY HAVE EVER

SEEN!
BEAUTIFULLY SPUN in POLISHED COPPER or Special LIGHT-WEIGHT METAL . . Chrome
finish.
Price 50/- U.S.A. $10.00.
If you want to make a real fuss of yourself. buy the .
SUPER DE-LUXESET. The cups are Beautifully Engraved . . the classi-
est-looking job ever offered to the fraternity!
Price f3/7/6d. U.S.A. $13.50.
An Extra Treat . . Leather Case for Shorties Outfit . . .
Price S1 post 1 /- U.S.A. $4.00.
AND IF YOU WANT TO GO T H E WHOLE HOC .. here’s a lo’velyitem to really complete the outfit
SWER-WMD - One of the most beautiful effects in the Dai Vernon Cup and Ball
routine is the amazing vanish of a ball, accomplished under the
misdirection of spinning a wandbetween the fingers. You must
have t h e CORRECT type ,of Wand .. AND THIS IS IT!BeautifullymadeinLight-WeightMetal
.. withBlack end(polished wood) . . Unscrews in the Centre for ease of packing. Of course this ..
beautiful wand can be used generally.
You may think it “pricey” . . but .: . the Quality is Superb . . and a good looking wand does enhance
,q a magic performance . . and it’s so useful too!
Price 25/- U.S.A. $5.00.
DAI VERNON’S
CUPS and B A L L S
Acknowledged t h e world over t o be t h e GREATEST EVER. This scintillating Routine is used by
the stars . . Superbly written and Illustrated with Seventeen large photographs by Lewis ~Gansoa,i t
enables even a beginner to master the great classic . . the most completely mystifying magical routine
to survive through the ages. Printed on heavy art paper . . a beautiful job!

Price lo/- U.S.A. $2.00.

EXCELLENT for Cups and Balls
CROCHET-COVERED BALLS andalltricksrequiring a small ball
(one-inch in diameter) which “hand-
les” well having “weight” and “feel”. We sell them in White - Black - Red and Green . . specify
which coiour required.
Price - 5/6 plus 6d. postage per set of Four. U.S.A. - $1.OO.
 ..e
ALL MAGICIANS WHO saw Johnny Hart’s act at the Magic
Circle’s Festival of Magic, either actually at the Scala Theatre or
on Television, will have realised that they were witnessing an occa-
sion all too rare in magic-the rise of a new star in show business.
Next day, the Press acclaimed him and it is no exaggeration to say
that his act was the main topic of conversation with the television
viewing public. We inmagic know the terrific amount of practice
that Johnny Hart must have put in to attain the high degree tJf
dexteritythatis necessary toperformtheroutinesinhis wt.
Additionallyhe must have studieddiligentlytoacquire so much
magical knowledgein so short a. space of time. Obviously, he has
the knack of choosing material which suits his own personality and which he knows willbe popular with his
audiences.
There is a wise head on those young shoulders because as soon as it was apparent that the road was open to an
artistic success, determination was shown toalsomake itafinancialsuccess. Theremust be t h e necessary
knowledgeavailable to make contacts in the right quarters in order that engagements may be secured in the
fashionable and most profitable places of entertainment. Also it is necessary to have the business abilit,y and
organisation to negotiate contracts, arrange press publicity and see to the other hundred and one things neces-
sary in the life of a successful stage personality. Well, Johnny Hart has chosen none other than Harry to take
care of his career and we all know that Harry certainly has‘the experience, both in show business and in magic,
to ensure that the future is as big a success as the start has been promising.
It is indeed a pleasure to have magic’s bright new s t a r on our cover this month and we raise the GEN glass
t o wish him t h e kind of success which will take him right to the top. May health and happiness always be with
him.
Very shortly, Harry will be announcing details of another tour with some new colour films we have been mak-
ing. From the other tours, it has been apparent that the most popular types of magical films are those which
first show the effect as the audience sees it, then proceeds to demonstrate how the tncks should be performed.
This has been our aim with these new films, and the acquisition of a really super zoom lens has enabled US to
take you right up t o t h e performer’s finger-tips as t h e crucial moves are shown. Details we have never been
ableto show before now fill t h e screen. We are just in the process of editing a. film of Ken Brooke’s latest
“miracles”, and can promlse you some really outstanding practical ideas. Fred Lowe hasalso provided some
grand materia,l which is novel, entertaining and certainly ”off the beaten track”.
By the way, we also filmed Ken Brooke’s routine with The Unique Multiplying Bottles and have run the film
many times for our own amusement and amazement. What a wonderful effect this trick produces-we counted
the bottles t o check that there is eventually just nine, as one would swear t h a t a t least twice that number came
from those two empty cylinders.
With you againnextmonth
LEWIS GANSON.

CONTENTS - - - - - -
From the Cen
Desk - Lewis Canson ...... 231 “Pencil Pop” - KenBrooke ............ 246
Diminishing Wand - Harold C. Beaumont 232 “Egg’straordinary’’ - Douglas Francis 247
New Lamps for Old - Rink ............ 233 “Enigma” - Aenigma . . . . . . . . . . . . . . . . . . 249
Unique-Comedy-Presentations -
Val Andrews . . . . . . . . . . . . . . . . . . . . . . . . 236 Mental Meanderings - Harry Stanley ._.._. 250
Lewis Canson Explains - Review - Harry Stanley . . . . . . . . . . . . . . . . . . 251
“The Easter Aces” . . . . . . . . . . . . . . . . . . 241

THE BEN is published on the 10th of each month by HARRY STANLEY, 14, Frith Street, London, W.1. -
Single Copies : 2/6: Twelve months
subscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription $4.00.
Editor: LEWIS GANSON. DENNISArt Editor: PA”EN.
@ HARRYSTANLEY 1962. Contributionsare only accepted on thetermsthatthecopyright belongs to
Harry Stanley.

23 I
 Make yourself a Wand with a length of Dowel Rod . . the
ends must be white and the centre portion a Spiral design . .
the illustration will give you the idea. You can get gummed-
paper or Selo (Scotch) Tape in various colours . . either is
admirable for the job. You also require a False Tip to match
one of the ends, of such a size as to enable
it to move freely along the wand.

You are now ready to do a neat little much the better. When you want to
piece of by-play that will make them open work the “diminish” .. . slip the fake end
their eyes . . use it sparingly and it will be on, and hold it in the .right hand . . make
all the more effective. surethatmost of thisfakeend is in
audience view all the time.
The white tips and spiral design on
wand, play an important part. The fake Holding the wand, horizontally to the
endmay be slipped on any time. First ground, about chest level . . the left hand
‘6
use the wand normally through the per- screws” thewandinto the right. The
formance . . if it canbe handled by a mem- first time you try this . . do it in front of a
ber of the audience during this time, so mirror . . it looks really weird! Of course,
all you do is to screw’ it through the fake
.end and the right arm prevents audience
from seeing this. Makesurethat most
of the fake end is in view all the time . .I it
is just this that makes the demonstration
conclusive . . otherwise they will think that
it is being pushed up your sleeve! (as if you
would do such a thing!).

Now “unscrew” it back to normal . . left

hand removes wand and right fingers close
over the fake end and retains it. It can be
disposed of quite easily while. you keep
their attention on the phenomena that just
occurred! Wand may be used in the nor-
mal way after examination. You may
repeat it later, if desired. .but. . don’t over-
do it or you will kill a good “piece of busi:
ness” !

..
Remember keep mostof the fake end
in view all the time whileyou are diminish-
. ing.

232
 A ring of about four or five inchesin
diameter isused. A metal ring is prefer-
able a s the weight of the ring helps. Also
a piece of rope of about four feet is neces-
sary. The effect should be performed with
the coat hanging open. A double-breasted
coat with not too small buttons is prefer-
able.

0 THE WORKING:
1 . The ring is strung on the rope. and . .
secured by a half-knot. The rope is then
held in both hands as in Figure 1 , in which
the right hand is omitted. The position of
the left hand is important.
2. Without changing the position of C '
the left hand, the right hand is moved
down so thatthe position of the rope
and ring becomes as in Figure 2.
. 3: The end C in the right is now moved
up - in the direction of the dotted line,
brought through the ring and through the
loop as in Figure 2, till the position of
Figure 3 is reached, the left hand still hold-
ing A and B in the same position as in
Figure I . 0
4.. The right hand withend C of the
rope is brought up just sufficiently to pull
the bight E Of the rope through the bight directions and stretch the rope ktween
D, i.o.w., the bight E now comes at the them (see Figure 4).
In this Figure, B
front-side Of bight D instead Of at the back. is still held bv the third and fourth fingers
-
5. Both handsnowmove in opposite of the right Land.

233
 6. The third and fourth fingers of the
right hand now release their hold on B and
the rope is stretched between the hands.
The result should be, that the rope now
runs through thering as in Figure 5. If you
have any difficulty in so much as the rope
slips off the ring or if C and D come to-
gether during this last move, it is a help if
the right knee is brought up,, so far, that
the ring can be rested on the right thigh
during this stretching move. This requir-
es some trying out.
rope from the ring without dropping the
ring from the button. Stillit is done by
carefully lifting the ends of the rope and
moving thehands towards each other at the
same time. What really happens is this:
The middle of the rope (C in Figure 5),
moves up and over the top of the ring ( F
in Figure 5) and comes out from under
and free of the ring, i.0.w. In the first in-
stance the ring hangs on the button, then
the C part of the rope and then the ring
again.

It is difficult to describe this move, but

7. Keeping the rope stretched between
thehands,thering is hung onthe coat-
button in front of yourcoat. Look at
Figure 4 and you Will see that it is point
F from the ring that is hung On the button
(Figure 5).
8. If you look at the situation in Figure
5, it seems well nigh impossible to free the
with the ring and rope in the hand it should
be fairly easy.
It is impossible to read this effectand to
understand it at the Same time-simply by
reading and studying the sketches only. It
is a very quaint effect at the end to see the
ring free itself from the rope without fall-
ing from the button.

T H EM A T E R I A L I S I N G R I N G OW R O P E
IF DURING A rope routine you should 0 PRODUCTION:
want a ring to suddenly appear on a
piece of rope held between the two hands, 1 . Just before the intended production,
this one is for you. It can be done at any the wand B is taken out of the pocket and
time during ashow. putona table. This automatically frees
the ring from the elastic. The ring slides
downthearm through its own weight.
0 PREPARATION: Through bending the arm, the movement
of the ring can be controlled and the ring is
The ring A should be of a size to fit easily stopped just before it should come into
over hand and arm(the diameter will have view at the cuff-side of the arm.
to be about four tofive inches) and is worn
over the shirt-arm but under the coat, over 2. A piece of rope of about three feet
the upper arm. (See
sketch.) A in length is held between the two hands,
elastic C is folded double through the ring so that it hangs in a bight before the body.
and both ends of the elastic are hung over If the rope is about three feet long,
a pencil or wand which is in the upper the distance between the hands should be
vest-pocket. The sketch should make about the same as the distance between the
everything clear. The ring is out of sight shoulders.
and can be worn throughout the perform-
ance,without any hindrance, until you 3. The rope is now thrown over the
need it. head, tillit hangs onthe back. At this

234
moment the hands should be above and
just back of the shoulders.

is repeated twice.
It
is then
thrown back to the former position. This

4. At the last throw over the head, the

hands go backwith some morevelocity and
the elbows move up, so that the underarms
point in a slanting position backwards.
The velocity of the movement will release
the ring, which slides over the wrist and
hand and so glides on the rope, where it
m
comes to rest in the middle of the back and
on the rope. This slipping out of the ring
cannot be seen by the audience.

5. When the arms now come forward

again over the head, the rope takes the ring
with it. Itlooks as if the ring has been
plucked from the back by the rope. The
effect should be tried out before a looking-
glass.Youwill be delighted to see how
deceptive looks.
it If you do it in
front of your wife’s looking-glass, be care-
ful to take some distance from the glass.
A crackedglass might bring you some
domestic trouble.
as described, but pull the rope through the
6. Itisadvisable to have the ring and ring and bring both ends of the rope
rope of contrasting colour. This effectis through the arm hole and put them in the
very suitable to usein connection with vest pocket or even in the inner coat-pocket
‘‘ The Ring on the Button”. if you don’t wear a vest. It might be
necessary to secure both ends of the rope
7. While writing this down, it occurs to by a pin to avoid premature slipping. Pull
me, that elastic and wandmight be omitted out the pin as you reach in your pocket for
altogether and the rope itself might be used the rope. Bring the rope into view and
to hold the ring in place on the upper arm. proceed with the effect as described. I
In that case put the ring on the upper arm just tried it out andit works perfectly.

TEE LINKING RING

to apply for membership in the 1.B.M
A magic monthly magazine exclusiv-
ely for members of the International Write for detailsandapplication form to :-
Brotherhood of Magicians. Publish- INTERNATIONAL BROTHERHOOD OF
ed continuously since 1923. Averages MAGICIANS H.Q.-Kcnton,Ohio, USA.
140 pages, illustrated, each month. or W. G. STICKLAND, “The Wand”,
You do not have to belong to a Ring Dudrbury Crescent, Ferndown, Dorut.

235
 “UNIQUE-COMEDY-PRESENTATIONS”
Patter, gags, ideas, routines and presentations for some popular Unique effects . . .
and manyothertricks which the gags “fit”.
By VAL ANDREWS
Gags withthe do you know what happened then? The
“UNIQUE COMEDY
CLOCK” same thing!”
Just in case you’ve missed this first-class
comedy item, it is a big - - BIG comedy “BACK TO NATURE”
watch (or clock) withmoveable hands, and This can only be used at certain times of
a very noisy winderattached. The back theyear,when those weeds known to
opens for the removal of sandwiches - children as “Tell-times” are in season.
limp-chicken - - or any other production- Load a good big one in the back of the
itemstheperformermay wish. Tommy clock, go throughthe usual business of
Cooper has featured this item, and it is shaking and winding, apparently without
supplied with afirst-class collection of gags success. Finally you open the clock, re-
and ideas by Eric (Nit-Wit) Williams. move the “Tell-time”,
and commence
But here are one or two ideas of my own blowing the fluff from it, announcing . . .
which owners of the prop.may wish to “May as well go back to nature . . . One
add to their comedy repertoire . . . . O’clock . . Two O’clock . . Three O’clock
..
9 ,

.
“A BIT
SLUGGISH!”
The performer picks up the comedy-
clock, holds it to his ear, frowns, winds the Some lines for use with Hubert Lambert’s
noisy winder and adjusts the hands. (All “
“SALT-GALORE”
this withoutcomment.)Heshakesthe Here’s a trick that reminds me of my
clock violently,remarking : “It’s a bitrecent visit to Russia-oh yes, I’ve been
sluggish-it must be the weather!” Then behind the ‘Iron Curtain’, and I am not in
he opens the back, and removes, with every this instance referring to back-stage at the
expression of surprise, a Prop.-Mouse or ‘Windmill!’. Whilst in Russia I wentto
Rat! Holding this up by the tail, the per- Siberia where they have the ‘salt-mines’ . .
formerquips . . . “No wonder it’s abit correction, I was sent to Siberia to work in
sluggish-the engine-driver is dead!” the salt-mines! But don’t think it wasn’t
fun, because it wasn’t! I was shown around
“COMMERCIAL TIME” the mines by Olga, the Private Relations
Deliver this item with the bright insin- Officer - that’s the same as a Public re-
cerity of a commercial T.V. saleman . . . lations Officer, but more fun!She said:
“Folks, this “Ever-fast-watch” was drop- ‘What do you think of our Salt?’ Well, I
ped deliberately from the top of St. Pauls didn’t think a lot of her salt . . but I certain-
-dipped in the Thames, and then left on ly a did admire her shaker!”
rubbish heapfor six weeks! And look
at it today, bright and shining as the dayit
was made , . and the mechanism . . . .
(Performerturns the clock, opens the back, Gag for use with Unique
there is a shower of broken springs, cogs - “RE-LIGHTING CANDLE”
and otheroddsand ends ofmechanism. (Blow out Candle) . . “You’ve heard of
These fall to the floor with a crash ..
per- ‘The Light that Failed?’ Well . . (Candle
former surveys them sadly) . .. Re-Lights)
fail !”
. . this is the light that failed to
. . Funny-we tried this once beforeand

236
Line for “THE JUMPING FLOWER” going down tothe Baby carriage shop to
‘1
Do you like my flower? It’s like my pay the final instalment on Little Jimmy’s
Girl friend . . . (flower Jumpsfromone pram!’. I said: ‘Well that’sjust fine
lapel to the other) ... Always comes Mrs. Jones, no more instalments to pay on
across!” little Jimmy’s pram! way, By the is how
Little Jimmy?’She said: ‘Oh. he’s fine
-he’s- getiing married on Saturday!’
Throwaway-line” for Unique’s
Still, I should talk-I’m buying this lighter
“FANTASTIC-SPREAD” onthe ‘never-never!’ Maybe that’s why
The magician holds a pack of cards, as if it never-never lights?(More business of
about to perform a card trick. He pauses, tryingtowork lighter.) Of course, if I
smiles, quips . . . also hire-purchased a little lighter-fuel it
“Before I show you my card trick, I might help-maybe I should have bought a
must tell you about my fishing trip. One book of matches instead?(Transforms
fish I caught, it was . . . well . . . lighter to book of matches) . . . Let’s face
(Magician spreads his hands in the mannerit, this is practical! (Attempts tostrike
of an angler illustratingthe size of ‘the one several of the matches, fails
thatgot away’ ... but in this case the one lights.Magiblows
... finally,
it out, sticks it
...
cards are ribbon-spread between the hands back in the book) Well, I know that one
. . . ) . . . about-that far from the end of works, so I’d better keep it for emergency!”
Southend Pier !” (Strikesanother match to light candle,
Cigarete orW.H.Y.)
Patter-couplet in rhyme, for
“THE THING !”
Last Evening, at a Seance, Patter-story for “FRAME-UP”
I had a dreadful fright! (Shows empty frame, lays it aside) ...
Saw a Poltergei . . .
I‘
I have a hobby, tearing pin-upgirls pictur-
A Ceisterpol . . . es out of magazines, and framing them -
A thing that wentbump in thenight! which is a neat twist. Usually pin-up girls
Said a moaning voice from ’neath tear men’s pictures out of magazines and
the sheet . . framethemen!(Showsmagazine) ...
“There’s only thee and me!” But this hobby of mine has got me into
I said, “Give me my hat and coat, trouble more than once, and --ou’ll findthat
And there’ll be only thee!” I’m banned from every Doctor’s and Den-
tist’s waiting-room in East Finchley!
(localise).But I’ve discovered that I’m
Lines to use with Unique’s Super not the only one at it! S’omeoneelse has
“ZIP-LITE” Lighter to book-matches. a similar hobby, because last time I picked
(Magician attempts to use lighter with- up a magazine in a Doctor’s waiting-room,
out producing any flame) . . . I looked at the cover picture . . (shows
“It’s no use talking-they just don’t cover). Making amentalnoteto tear
make things the way they used to! And it out before I left . . just looked inside the
things cost much more-the cost of living magazine to see if there were any more
rises all the time-soon I won’t be able to items for my collection . . (opens, shows
afford it! People areleaningmore and middle of magazine) . . I found there were
more heavily on the hire-purchase system. not, then discovered that some thieving so-
I met a neighbour of mine-Mrs. Jones- and-so had sneaked thecover-picture ! (Dis-
in theHighStreet today. I said:‘Where plays cut-out cover). Little did he know
are you going on this fine, fine morning that l am notonlya collector . . but a
Mrs. Jones?’ She
said: ‘Oh I’m just magician ! (Shows Frame with Picture.)

237
 The Doctor has threatened to send me to
a psychiatrist . . but l don’t mind . . he’s got
some smashing magazines in his waiting-
room!” (Cue forapplause.)
demonstrates by applying atube of the
preparation (actually justa toothpaste-
tube) to a short length of obviously limp
rope (“Hypnotised-rope”) with of course
dramatic results!

Patter-lines for Unique “COIN-BOX”

“Here’s a trick where I place six pennies An “Off-beat” presentation for ,Unique
into a little metal box. Easy for me, I’ve “BRASSIERE-TRICK”
had a lot of p r a c t i c e m y parents encourag-
In this presentation you don’t even need
ed me to putall my pennies in a metal box. a girl assistant!
To teach me thrift they said . . I was 2 1
before I discovered that the metal box was (Magician joins two silks together) ...
the gas-meter ! I never saw my pennies “Here’s a little trick whichwas shownto
again, but you can see that these are in- me by a travelling Salesman-hejoined
side, even when I place the lid in position, two silk handkerchiefs together and tucked
dueto
the small hole. them in the front of his jacket.
You can see
through thesmall hole, I hope you can’t see (Performertucks silks in front of his
through the trick . . that crack was by per- own jacket to illustrate, leaves them there
mission of Joe Miller !” in full view as he picks up third silk) .. .
He then took a third silk handkerchief
between his hands, and began to squeeze
A presentation angle for Unique it, the handkerchief becoming smaller, and
“HYPNOTISED ROPE” smaller and smaller . . .
It occurs to me that a very good way of (Third silk vanishes) .. .
presenting theabove excellent comedy rope I said: ‘That’s clever-you must be a
effect, wherein an obviously limp-rope sud- professional magician!’ He said: ‘No-
denly becomes rigid, would be in the form just a travelling salesman-I travel in ladies
of an impression of a lecturer. The lec- underwear!’ Then he explained tome
turer is trying toimpress upon his audience that the vanished silk handkerchief would
the complete impossibility and non-reality join the other two in front of his jacket.
of theHinduRope Trick legend! Every (“Brassiere”producedbetweensilks) ..
time he seems to have a convincing argu- I said : ‘Something’s gone wrong!’ He
ment for the non-existence of the fabulous said: ‘Maybe it has, but at least I’ve
rope trick, the length of rope he is holding proved that I do travel in Ladiesunder-
spookily stiff ens! This does not neces- wear’.’’
sarily surprise the performer, merely em-
barrasses him! He does his best to cover
up andsuppress the off ending rope-even- Some lines
you will find
useful
for
tually throwing it offstage, and renewing Unique’s fabulous “DICKIE the DUCK”
his avowal that “such things are not pos- “This isDickie, the famous Duck, his
sible !
” brother is a famous film-star . . not Charles
Another presentation idea with the Drake but Donald Duck! He appeared on
“Hypnotised Rope”, one which will, I’m the Ed. Sullivan show, but unfortunately
sure, prove popular with performers of the he ‘laid an egg’, so we nowhave to call him
“Pitchman” or “Magical Salesman” type. Dotty!”
The performer gives a sales talk for a new “This is Dickie, that’s not his full name,
‘ I .
wonder instant freeze” which makes it’s short for ‘Richard the Third’ or Bird!
the refrigerator obsolete! “It comes in He comes from a very good family, one of
three handy sized tubes . . cold, freezing, the Aylesbury Ducks you know . . . if he
and ‘Brrrrrr . . . So saying the performer could speak to us . . . he wouldn’t!’’
1.

238
 “Last time I saw a duck with a card in
its beak . the card read . . ‘FourBoba
Pound’ ... (Duck pecks Magi’s fingers as
he removes card from beak, etc.) ..Ouch
-all right Dickie Lad, no offence meant,
don’t go raving mad!”
“This is Dickie-he came originally from
a little town in Middlesex . . ‘Hatch End’!’’
“Closeupforcomedy” with “DIAL-X”
(or “What a dial!”)
(The super pocket-trick, marketedby
Unique, in which any spectator may turn
a pointer on a miniature dial to any num-
ber, out of sight of the magician, and then
back toneutral. The Magician telling
which number was selected! Althougha
pocket-trick, the effect can be presented be-
fore quite a large group of people effectiv-
ely. It is not essential thatevery person
present should actually see which number
is pointed to, just so long as the presenta-
tion makes it clear that the m.agi divined it
correctly.)
“This trick with the Dial is the most talk-
ed about mystery that I have ever perform-
ed-after every show I do, I hear people
muttering, ‘Gosh-whatadial!’ And it
is pretty amazingat that-anyone can turn
the pointer to any number, while my back
is turned, then turn it back to its present
position, and believe it or notI will tell you
which number you selected! But you
don’t have to take my word for it-deeds
speak louder than words,Sir, you look a co-
operative Gentleman-are you-you are-
6‘
How’s your divi’ going, mounting up?
if you will turn the pointer, in a clockwise
direction, to any number you please, then
back to its present position-that’s most
important, and of course, don’t begin until
my back is turned . . (turn back) .. This
is my back by the way . . now carry on . .
anddon’tforgettoturn it back to its
original position. (Turn to
face
audi-
ence.) You’ve finished? Splendid . . .
nowhand me the little dial, and I will
attemptthe impossible-not for the first
time-if I can live on my income nothing
is impossible.You turnedthepointer to
number four, didn’t you?Am I right?
I am-splendid!
You had me worried
there for a moment. By the way, I claim
no psychic power, neither do I ask for your
applause. After all, when a plumber calls
to mend your pipes, he gets no applause.
When the mechanic at the garage mends
the damage the wife did to your car-he
gets no applause-so I don’t wantany
either-mind you, I’d appreciate a tenyard
start!”
Line for Unique
“FINGER-CHOPPER CARDS”
Just think-if this trick goes wrong, I’ll
‘L
never be able to order four beers again-
without speaking!”
A few quips and pieces for Unique’s per-
verse cut and restored newspaper effect ..
‘6
“SQUIRCLE”
Here is my answer to the well-known
T.V. programme “What the papers say”
-mine is much the same . . but I read you
the news-items that nobody dared to print!
Seriously though, have you ever looked at
a headline on one side of your paper, then
the headline on the other side, and compar-
ed them?Quite oftenthey make sense
in a peculiar sort of way . . for example, on
one side of my paper it says: ‘Explosion
in a Shredded-WheatFactory’ . . onthe
other side it says . . ‘Could this be the in-
spiration for Raymondes new hair-style?’”
(Cuts circle from Paper) .. Who says
that newspapers are going out of style?
Despite the fold-up of the News Chronicle,
despite the Odhams merger-there will al-
ways be newspapers. . you can’t wrap your
fish and chips up in a T.V. set!
(Opens paper, looks through Circle) ..
6‘
. . . . And who says you can’t get a
‘Square’ inaroundhole? Of course, 1
admit to being a ‘square’-when a Teddy-
boy called me a ‘square’, I said: ‘Son, I
take that as a compliment!’ Well it was
the nicest thing anyone had said to me all
week!”
(Shows circle of paper as a “Square” ..
re-opens paper, fits them together) .. .
Everything “Square and above board!”
239
Patter for Unique
“VANISHING BIRD-CAGE”
(used as an opening effect)
(Performer enters holding bird-cage, in
casual manner as if out strolling, quite un-
aware that he is being watched. Suddenly
seems to sense presence of audience-turns
to face front, obviously rather self-con-
scious about the bird-cage!)
“Oh, hello there, didn’t see you for a
minute! Just taking my bird for a stroll
-1 suppose you may think that a rather
strange thing to do, but, well . . you see
(very self-conscious) my Dog died . . and
you feel such a fool wandering around
on your own! Mind you, this bird is quite
a good companion too-I mean, if I feel
like slipping in for a ‘quick one’, I just say
to him . . ‘Home birdie’-and he flies off
I
home!.”
(Vanish cage on words “Home Birdie”.)
Some useful lines for
“TORN
AND
RESTORED
NEWSPAPER”
“FleetStreet certainly is in a terrible
state-every day a new merger, take-over
bid or close-down ! Makes youwonder
what title your favourite newspaper will
wind up with! Try and imagine the Sun-
daywhen you’ll spenda pleasant hour
reading the ‘News of the Feathered World’.
Speaking of Newspapers reminds me of the
fact that I was once a reporter-I was! I
used to report to the Probation Officer
everyTuesdayand Friday! And I can
remember when ‘Deadline-Midnight’ was
just the time I had to get home-if I didn’t
make it by that time the wife used to let my
room! If I got home by ten she used to
kick the other twofellows out of my bed!”
(The above lines will be useful to those
who work “Kentare” also.)
An additional gag for EddieSongest’s
“SAUSAGES” (Lift
Here’s a “punch finish” for that brilliant lift glass to toast audience .
novelty of Eddie Songest’s, in which you addressing
form many, many other words, from the
one
word
.L
Sausages”. by means of a
240
series of hinged lettered panels. Unique
market this, and it’s just the job to slip in
your bag in case you are asked to do a
second spot”, because really it’s almost
6‘
an act on its own. My addition is simply
the production of astring of sausages,
either latex or spring, from the rear
of the boards at the conclusion of the
“
routine. Incase you’ve forgotten what
they really look like-These are the things
we’ve been talking about !”.
RABBIT-TABLEGAGS !
If you’ve got one of those colourful
Unique “Rabbit-Tables”, why leave “Bun-
ny”out of the act . . he’s your unpaid
Stooge” . . patter abouthim in the follow-
6‘
ing manner . . .
“By the way, that’s Oscar my pet rabbit,
I used to produce him from a hat, until he
got into the ‘4-F’ category . . ‘4-F’-that’s
two fat-Two Fit ! He’s still quite spright-
ly though, goes out every time there’s a
newmoon,toturn his‘doe’ over! He’s
very fond of carrots, and carrots are good
for the eyesight-I think that’s obvious
from the fact that Oscar has reached the
ripe old age of seven without using glasses!
At least not to see with that is . . he drinks
his night-cap from a glass. 9,
“HIGH-BALL CUP” and Unique
“GIANT
FUNGLASSES”
If you work the Eric Muller “High-Ball
Cup”, get a pair of the Unique Giant “Fun-
glasses” if you want a nice little addition-
At a point near the climax to the trick,
just after you have covered the glass prior
to the whiskey production, don the glasses,
as if you needed them in order to see what
you are doing . . .
“People say these glasses make me look
old . . but that’s ridiculous-it’s not these
glasses that make melook old . . . it’s these
kind!**
cup to reveal
glass of whiskey-
.
. speak as if
whiskey glass) ..
.
“You killed my Father and my Mother
. . revenge ..
” (Drink whiskey.)
 THEEASTERACES
BY HANS E. TRIXER

TH E FOLLOWING EXCELLENT
trick with the Aces was received
from our good friend Hans Trixer in
South Africa about three years ago. At
that time it seemed that we had been writ-
ing version after version of Four Ace tricks Note for camera fans : The pictures have
and we did not want this one to be passed been taken with a sub-miniature Minox
over because of over familiarity. How- camera at 1/5th sec.-f3.5 indoors with
ever, we must confess that its publication normal daylight onAgfa Isopan F fiEm
is long overdue, as it joined our ever 1 7/10 DIN (32 ASA). Distance 18 ins.
increasing pile of manuscripts on cards.
4 DIRECTIONS:
There has been very little editing on our Spread the shuffled deckinfront of your
part and Hanshimself provided the photo- eyes and cull the four Aces ; while doing
graphs, so our task has been light this this, the Three of Hearts and the Three of
month-now over to that clever magician Diamonds are placed fifth and sixth respec-
Hans Trixer. tively from the front of the deck.

+Three
EFFJXT:
Aces are covered with three in-
different cards each. One Ace (the master
Ace), is placed separately. The three Aces
disappear from their respective packets and
re-appear with the master Ace.
+Each
FEATURES:
Ace is shown before it vanishes
The Aces are placedin the sequence
Clubs-Diamonds-Heartsapades, with
the Ace of Spades as front card. - The
exact set-up is shown in Figure 1.
(If the Three of Hearts would be the
sixth card from the front, the Aces should
be
set
up
Spades.)
Clubs-Hearts-Diamonds-

from its packet. Nodifficult sleights are
required. Onlythefour Aces andnine
more cards are used throughout. The main
feature is, though, that no trickcards or
duplicates are necessary, asthe only re-
quirements are-a borrowed deck of cards.
With the Aces on the table, you thumb
the two front cards off the deck and (with-
out reversing their order), drop them on
the table face up.
Repeat with the following three cards.

+Ed.CREDITS:
Marlo’s double buckle is used a
Repeat again withthe
cards :
following four

number of times. Some ideas of the rou- i.e., you thumb off“2-3-4” in bunch-
tine are his also. es, which gives you the correct set-up for

24 1
the trick. (This set-up is shown in Figure
2.)
Place the Aces face up ontop of the nine
cards and take the pile in your left hand.
Fan the cards and show them to the spec-
tators(Figure 3 ) . When closing thefan
(face up) get a break between the fifth and
sixth card from the front (under the Three
of Diamonds)-Figure 4. Seize the cards
above the break as shown in Figure 5 and
remove the cards under the break by turn-
ing the left hand face down, so it is impos-
sible for anyone to note the front card of
the pile.
It is important where you place this
stack of eight (supposedly nine) cards.
The correct place is slightly to the left in
front of you. Three of the Aceswillbe
placed in a row just now, the packet of
eight cards should be exactly there where
the third Ace is going to be (Figure 5).
Turn the Ace packet face down into the
left hand and hold the cards as in Figure
6.
Make a double buckle with the left hand
(i.e., pull back first and second cards from
the bottom) and seize the three top cards
as ONE with the right hand as in Figure 7.
242
Show the front of this card(s) and ask
spectator to remember thename of the
Ace.
Replace the three cards and point to the
right in front of you on the table and say:
“The Ace of Diamonds is going to be-
THERE”. (Figure 6.)
Remove the top card only and without
it showing again, place it on the indicated
spot. (When seizing the card be sure to
duplicate the action of taking off the three
cards as one--Figure 7 right hand.)
Pick up the top card and show it to be
the Aceof Clubs ; place it to theleft of the
Ace of Diamonds.
There should be three cards on the table
now (Figure 8). From left to right pack-
et of eight (not 9) cards-Ace of Clubs-
Ace of Diamonds (which really is Three
of Diamonds).
Pick up the two top cards as one, show
Ace of Hearts and startplacing it to the left
of Ace of Clubs.
Suddenly you notice that the space is
occupied. Replace the card (S) on top of
the remaining Ace of Spades and movethe
pile of eight cards out of the way. The bottom (Figure 1 I ) ,and asking at thesame
moment the right hand reaches forward to time: “You remember thename of this
place the Ace of Hearts-just before re- card?”. Fan outthethree cards in the
moving the pile of eight-is shown in Fig- right hand and point to the face down Ace
ure 8. As soon as the pileis out of the in the left hand (Figure 1 2).
way, the top card is placed-without being
shown again-on the correct spot. (Situ- Before anybody has a chance to answer
ation is now as in Figure 9.) your question, replace the card from the
left hand underneath the pile in the right
Turn over the Ace of Spades and show hand which is closed simultaneously.
it as the Master Ace. Place it in front of
the three Aces, being careful not to expose
the two cards, which are supposed to be The completed pile is taken into the left
one only. Pick up the pile of Eight cards hand-exactly as in Figure I 3. - The
-thumb off three and drop them on the fingers of the right hand cover up the top
Ace on the left. -The next three cards go spot of the Three of Hearts and bend back
on the centre Ace, while the remaining two the cards to expose the centre pip of the
(supposed to be three) are placed on the three only. (Figures 1 3 and 14.) “Cor-
right Ace(Three of Diamonds) Figure rect”, you say, “the Ace of Hearts”.
10).
Turn the cards face down and push off
Pick upthe pile on the left. Pullout the top card into the right hand. Repeat
the bottom card, really executing the glide, with the nextcard and eventually place the
thus extracting the second card from the two remaining cards as ONE on top of the

243
other two. (The order of those cards thus
is reversed.) . -
Turn over the three cards and show the
Ace of Hearts has gone (Figure 1 5).
Place the three (4 ! ) cards face down
into the left hand and spread the two cards
on the table slightly (Figure 1 6 ) . At the
same moment get a break under the top
card in the left hand.
Turn over the Ace of Hearts and place
it in the left hand as shown in Figure 1 7.
Turn over the Master Ace and use it to
turn the Ace of Hearts face down on top
of the cards in the left hand (like closing
a book).
Place the Ace of Spades face down on
the table ; seize the Ace of Hearts plus the
next card and place it on top of the Ace of
Spades. To cover up this movement the
left hand moves forward, turns over and
spreads the remaining three cards face up
on the table (Figure 1 8).
Pick up the next pile and pull out the
bottom card. Turnit over andshow it
to be theAce of Clubs. Spread the re-
244
maining cards fan wise as in Figure 19.
Close the fan andat the same time slide
the Ace of Clubs between the bottom card
and second from the bottom. To the spec-
tator this should look like the Ace of Clubs
was placed on the bottom of the pile-face
up all the time. If you were going to
spread the cards in a fan now, thesequence
would be as in Figure 20.
Flick the pile of cards, turn them face up
in the left hand and, using the Double
Buckle again, spread them between the
hands to show the reversed Ace of Clubs
has disappeared (Figure 2 1 -right hand
omitted).
Count the cards into the right hand, re-
versing their order and taking the top two
cards as one,which brings the reversed Ace
of Clubs to thebottom of the pile.
Takethe pile intothe left hand and
spread the Master Pileon thetable, to show
there are three cards now-using the right
hand.
At the same time, the left forefinger pulls
back the bottom card and this enables you
to get a break between the bottom card making use of the Double Buckle, to hide
(Ace of Clubs) and the rest of the pile. the fourth Ace (Ace of Diamonds). The
situation is shown in Figure 23.
Seize the cards in the left hand with the
fingers of the right hand retaining the break The pile of Aces is closed and replaced
(Figure 22). -face down-on the table. The last pac-
ket is picked up and just bent backwards
Bring the right hand over the slightly to show the Ace of Diamonds (Figures I3
spread out cards on the table. Pull those and 1 4 respectively).
cards towards the edge of the table and
into the left hand secretly dropping the
Ace of Clubs ontop of theother three The cards are flicked and counted as be-
cards. fore. (For uniformity, their order is also
reversed, though it makes no difference
The left hand receives the three (really here.)
four) cards and the right hand moves for-
ward and spreads the remaining (indiffer- Figure 24 shows the last phase.
ent) cards on the table.
Place the three cards on the table, faces
The cards in the left hand are turnedface up, pick up the four Aces and fan them
'up and spread between the hands, again out.

% H O TF R O MA M E R I C A . . . .
PROFESSIONAL CARD MAGIC
BY CLIFF GREEN
A , REALLY GRAND BOOK . . .
NEW SLEIGHTS A N D TRICKS . .
DON'T MISS IT !
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A 100% MAGICAL
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FOR YOU !
HARRY STANLEY 14, FRITH STREET,LONDON, W.l.
.- 3 minuter from Piccadilly . . Leicester Square or Tottenham Court Road, Tube Station -
Telephone - GERrard 5409
Callers please Note - Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday - 9 a.m. to 4 p.m.

245
0 EFFECT:
A coloured pencil is dropped into a paper bag, spectator
blows up the bag and then bursts it. Out
drops the pencil but is a differentcolour. Youneed two pencils. On one attach
Everything is examined. a piece of elastic and here’s how you set
it up.
0 METHOD: Remove your coat .and pin the pull to
your right shirt sleeve.You’ll have to
You’ve nothing to fear here for the dirty experiment to get the right length here. It
work is done before the audience know should hang inside the sleeve so that the
about it. tip of thepencil is about four to five inches
from the cuff when the jacket is replaced.
Don? have the pull too tight otherwise the
movement of the sleeve will show when
you let the pull take over.
With pull suitably fitted, and an empty
paper bag at the ready, you work the trick
as follows :
The unfaked pencil is held in the right
hand across the fingers. Pull the faked
pencil down the sleeve and hold it as shown
in illustration, back of the hand is towards
the audience. Pick up the paper bag with
your left hand and offer it for examination.
Take it back, and holding it open in your
left hand, call attention to thecolour of the
pencil in your right hand.
Right hand now goes inside the bag and
apparently drops in the pencil just shown.
What really happens is this :- AS soon
as thehand is inside the bag, allow the pull
to take the “visible” pencil up the sleeve
and drop the one you previously held in
your fingers.

246
 The trick is now done as far as you are
concerned, but don’t reveal the colour
change yet.
Let the right hand be seen empty as you
withdraw it from the paper bag. Draw
the mouth of the bag together and ask a
spectator to inflate it. Tell him to burst
it, out falls the different coloured pencil,
and he is left to examine everything.

“ EGG’STRAORDINARY ”
A COMEDY OF ERRORS
By DOUGLAS FRANCIS

0 EFFECT: Performer shows a WHITE EGG and a RED

SILK. The White Egg is placed into a tumbler and covered
with an ordinary pocket handkerchief.

The Red Silk now mysteriously changes

into a Red Egg! Uncovering the tumbler,
the WhiteEgg previously placed therein, is
now seen to have changed to a White Silk!
Performer states that this doesn’t seem
to be quite right and offers to repeat the
trick.
The Red Egg is placed in the glass and
covered as before. The White Silk is now
made to change into a White Egg. When
the glass is uncovered . . to the amazement
of all . . instead of the Red Egg, is found
a BLUE SILK! Then totop it all, the
White Egg is seen to have changed into a
Blue one.

0 REQUIREMENTS: You need three

Plastic Eggs . . two of them should each
have a hole cut in its side, so that a silk
can be worked in. Paint one of these Red
and the other White. The remaining egg
you pqint Blue. You also wantthree
twelve-inch silks . . Red, White and Blue
and a large pocket handkerchief . . a Pin
and a Bottomless Tumbler (if you haven’t
got one of these, it’s not difficult to cut the
bottom of a Plastic Tumbler with a hack-
saw and smooth the edges with sandpaper.

0 SET-UP and PREPARATION:

Solid blue egg in left trouser pocket.
Hollow Red Egg in left jacket pocket.

247
 Place a large pocket handkerchief flat on look uncover the tumbler. Then you are
the table, about fourinches from one corn- doubly surprised to find therein a White
er attach apin so that it points towards the Silk !
diagonally opposite corner.
Remark that you have made a slight mis-
Place the Blue Silk flat on the table . . take, and that therefore youwill do the trick
fold the cornersto the centre and keep fold- again.
ing in the same way, until you have a small
Place the White Silk in your left packet
bundle (A). This is impaled onthe pin
pocket as before. Pick up glass and drop
(B). Red Egg into it. Cover with handkerchief
Fold the corner of pocket handkerchief at the same time pushing the Blue Silk off
over the silk i o conceal it. Now fold the its pin, so it drops into theglass.
White Silk as you did the Blue one andlay Stand the covered glass on table, retain-
it on the folded corner of pocket handker- ing the Red Egg finger palmed in left hand.
chief (C). Thiswhole“set-up” is now
turned over and laid on your table . . pre- Switch, as before, for White Egg when
pared corner of handkerchief with silks con- removing the White Silk from pocket.
cealed . . lying at rear of table (D). Change the White Silk into the White
Egg which you hold in right hand. Look
Red silk . . Hollow White Egg.. Bottom- puzzled and whilst meditating, casually
less tumbler and prepared pocket handker- place left hand in left trouser pocket and
chief in view on the table which should be finger palm Blue Egg. TransferWhite
to your right. Egg to left hand holding it between thumb
and forefinger, Blue Egg being concealed
0 ROUTINE: Display Red Silk and by remaining fingers. Look at it for a
tuck in leftjacket pocket, leaving partof it moment, then apparently toss it into right
hanging over the edge of pocket in full hand. However, it is the Blue Egg which
view. entersthe right hand,theWhite Egg
being finger palmed in left hand (this is
Place White Eggin glass, which you the standard Billiard Ball Colour Change).
hold on palm of left hand, being careful At the sametime turn to thetable and with
not to exposehole in egg. Cover the glass the left hand remove pocket handkerchief
with pocket handkerchief, and in so doing from glass to reveal the Blue Silk. Stuff
. . drop’theWhite Silk into glass. Place the handkerchief in left jacket pocket,
the covered glass on table, retainingthe White Egg going withit. Remove Blue
egg finger palmed in left hand. Silk from the glass with the left hand and
display, then look at the right hand which
Go to left jacket pocket for silk, dropping you open to reveal the Blue Egg for a really
the White Egg in it, and bring out the Red surprising climax !
one finger palmed as you remove the silk.
Thisswitch is very clean, as a trial will I have had a great deal of success with
show. Display the Red Silk once more this routine . . it’s full of surprising and
andthen roll it up betweenthehands amusing incidents. Do please put in some
working it into the egg. Reveal the Red work on it and you’ll have a worthwhile
Egg. Show surprise . . and with a worried addition to your entertainment.

U Subscribe to
HUGARD’S “MAGIC MONTHLY“
HERE‘S MARVELLOUS MAGIC ~ CLEAR - COLOURFUL - COMPLETE
Now in ita sixteentb year of publication. Subscription $5.00. per yc,al.
J E A N H U G A R D , 2634, East 19th Street. Brooklyn 35, New York, United States of America
We can accept subscriptions for this fine magazine - 3 5 / - per year.

248
“ENIGMA” - BY AENICMA OF HOLLAND
0 EFFECT:
A number appears on a chosen and marked card, which is
in the centre of the pack.

e PREPARATION.
Cut the centre out of fifteen cards. The pack is set up as
follows: Seen from the back, we have thirty-five ordinary
cards, one short card, fifteen cut-out cards and one ordinary
card. Have a short piece of pencil handy.

e WORKING:
Pack is fanned (top part only) andspec-
tator selects a card. It is signed by spec-
tator (in pencil).Take cards face up,
riffle to“short”. Selected card isplaced
face up on the “short”. so that all can see
what card it is. Remainder of cards are
replaced on it, apparently burying it in the
centre of, thepack.

Magician steps back a few paces, remov-

es face card and lays it across the top half
of the first window card, takes the
small pencil and asks spectator to call out
any number. Now, thankstothe short
pencil, it is possible for performer to im-
mediately write this number, through the
windows straight on to the selected card!
You immediately repeat their number, and
say that you will write it on acard for later
identification . . now actually, and in full
view, write it on the top card. This is re-
placed and anelastic band is placed around
the pack, which is now turned face down-
wards and riffle to short card.

A s soon as you arrive at the short card,

you knowthatthe following one is the
marked one. Lay this one face down on
the table, and the remainder of the pack
with the “identification” card face-up, next
to it. Point to the number you wrote on
the “identification” card, ask the spectator
whether it really was the chosen number,
and to turn his card face up. He recognis-
es his signature andsees also the numberon
his card . . written by the spirits!
NOTE - When you ask spectator his
chosen number, the first time, immediately
repeat what he said, look him straight in
the eye, as you write . . we have tried this
dozens of times and it is a fact that it is
absolutely un-noticed.

249
M E N T AML E A N D E R I N G $ - H A RSRTYA N L E Y

1HAVE HAD many requests to renew a BILLET or NOTE FORCE :

my articles on mental tips and
tricks from the old days . . so here is one
you can play around and have some fun
with.
Tuck a TreasuryNote . . or Billet, inside,
at one end of an envelope and place that
end into a Bulldog Clip. Do the same for
as many as you want touse inyour routine.
Go along to your local stationers and buy
that number of “Spike-Files” . . they con-
sist of a piece of stout wire, set in a base
and are normally used to “spike” old bills
and letters. If you bend the wire over
.‘
at the top, it makes a nice stand to hangon
your clipped” envelope.

Tell your audience that you will burn the

envelopes in anyordertheynominate ..
the last one . . the “vital one” . . being left
unharmed. You do as they ,ask until only
one is left. Release this envelope from its
clip (the billet or treasury note will fall into
the envelope proper). Showing the hands
obviously empty . . open the envelope and
remove the contents.

This was originally used with Billets as

a “Living and Dead Test” . . but it can be
used with equal effect as a sort of “Bank-
Nite Trick” with Treasury Notes or Postal
Orders.

OPENFRONTPRODUCTION BOX
A BRILLIANT piece of apparatus for the production of DOVES .
RABBITS . . FRUIT or SOLID ARTICLES and tremendous quantity of
.
SILKS.
A nicely decorated box (size 12 inches by 9 inches by 7 inches), with
open-work front, is seen to be EMPTY. A thin Panel is shown BOTH
SIDES, then placed into the front of the box. I t can be removed im-
mediately to reveal that the box is now FILLED almost to overflowing
with desired “load”.
Completely SELF-CONTAINED . . SO EASY TO WORK . . you can
work it RIGHT AWAY.

Price 23/3/- post 3/6 U.S.A. $12.50.

250
 HAPPY NEWYEAR WE’VE HAD A “DUTCH TREAT”
and I hope a HEALTHY one, for we are these past few weeks with Fred Kaps ..
getting far too many reportsof friends who Tonny Van Domelen ..
Marconick Nic ..
are not in the best of health. As I write, and Bob Niberco, all working in this
comes a notefrom Faucett Rossto say that country with great success. Fine magi-
he is duetogointo hospital . . also cians and artistes, these chaps are a real
Slydini writes tosaythat he had had a credit to magic . . the more good magicians
couple of operations with another yet to the public sees the better it is for all of US.
come. I knowthatyou join with mein It’s the slip-shod and careless chaps who
wishing them and all magicians and their give magica bad name . . and unfortunately
families whoarenotupto the mark,a there are plenty of these around. In too
speedy andpermanent recovery . . that will many places, managements are becoming
indeed make us happy! very wary indeed when the word “magi-
cian” is mentioned. But there is still
THANKS A MILLION
to all who sent us Christmas Greetings . .
PLENTY OF WORK
‘4
more than ever before and far too manyto for a good-un”. Particularly inspiring
answer all individually. We can hardly to youngchaps should be the immense suc-
move at home for cards, but what a joy it cess of our new “British White Hope” . .
is to see so many reminders of our friends, “Battling”Hart undefeated champion from
from all over the world. Preston, Lancs. Johnny is proving that
there is still a market for good and stylish
ONE
OF THE NICEST magic. At the ripe old age of 18,
Johnny is well set on
Christmas surprises wasahefty parcel
from our good friend Gerald Kosky . . and
it’s a treat for you, too, for it contained a
THE ROAD TO STARDOM.
complete issue contributed by the A series of one-night-stands put him in
trim for his opening on January I st in Al
LOS ANGELES MAGICIANS Burnett’s fabulous floor show “Extrava-
a wonderful bunch of fellows, giving us a ganza” atthe famous Pigalle Theatre
real New Year’s present. What a line-up . . Restaurant in Piccadilly. I know that
Glenn Cavatt (a most prolific writer who every magician wishes him success. By the
has given much to magic) . . FredBraue way, the Pigalle is a jolly fine place for a
(Editor of “Hugard’sMonthly” and co- night out with your wife, or friends . . a
author with the late Jean Hugwd of “Ex- good meal and smashing cabaret . . try it
pert Card Technique” - “Royal Road to some time. The management have kindly
Card Magic” - “The Miracle Series” etc., released Johnny for a couple of nights dur-
etc.) and many other famous performers ing March . . and if he can get his birds to
and writers, including GeorgeBoston .. loan him and assistant, wings, we will
Robert Haskell . . Dr. Eugene Gloye . .
..
Me1 Brown Lloyd E. Jones . . Dr. Ray- FLY TO NEW YORK
mond Bebe .. Charles Ruben and Gerald to appear on the famous “EdSullivan
Kosky. Scheduled for early publication . . T.V. Show”. On second thoughts we’ll
this is an issue we will all look forward to! probably go PAN-AM . . it’s warmer!

25 I
 I cannot remember any British magician WELLON ITS WAY
ever “goin,gplaces” as this lad is doing. is Dai Vernon’s new book on Max Malini.
I will be able to give you a definite publi-
BUT DON’T
KID
YOURSELVES cation date in the next issue. I really en-
that success comes easily . . a lot of hard joyed reading and re-reading themanu-
work (of the right kind), a good deal of script . . it’s so full of good things and if
thought and planning, must be applied and
YOU take a tip from me, you’ll make sure
of course, onemust get the “breaks” . . and buy a copy on publication day!
but, believe me, if one has the right stuff . .
the “break” must come . . it comes earlier A
GOOD START
to some, that’s all. to the New Year was to some extentassur-
ed by the first week in Television. On the
ANOTHER TREAT IN STORE first day we had on B.B.C. filmed excerpts
is a new series of Unique Films just com- fromthe International Congress heldin
pleted by Lewis, featuring the inimitable Liege, with our own AlanAlan - Fred
Ken Brooke and that clever magician and Kaps (Holland) - Brahma (France) and
ldeas man” Fred Lowe. The films are the Maymo Brothers (Spain).
L‘.

L‘.
Later
mstructional”, with the tricks being per- the same evening on.“Commercial”, Chan
formed first as an audience sees them . . Canasta started an eight week series, when
then explained in detail. We find that viewers are asked to “join a panel of cele-
this type offilm is the most popular and brities in trying to find an answer to his
will therefore concentrate on them in baffling experiments.” A couple of nights
future. later the B.B.C. started a six week series
of “seasonable magic” with Robert Harbin
UNIQUE FILM HIRE and Koran alternating.
scheme is proving very popular with
societies and groups, who report having an GOOD LUCK TO THEM ALL
excellent evening with our films so much for a good deal of the popularity of magic
so they booked a second programme for depends on whether the chaps on T.V. put
future date. Will be happy to send you up a good show . . if they succeed it’s good
particulars, but don’t leave it until the last for magic generally.
minute otherwise we may have to disap-
point you. HERE’S TO 1962
May it bring good fortune to magicians
WHAT A RESPONSE everywhere. But in this season of high
we’ve had to our advertisement last month hopes and aspirations, let us not pitch our
for our new “Shorties” . . “terrific” - demands of the New Year, too low. I hope
marvellous” -are only just acouple of that every magician will aim for a better
4‘

the adjectives used by delighted buyers . . standard of performance and knowledge . .

They really are something and if you want and finally
to give yourself a really nice treat, get one
of these outfits . . you’ll be delighted! Also A BIG THANK YOU
our “Multiplying Bottles” are TO ALL OUR a ,

GOING GREAT GUNS’ LOYAL

CONTRIBUTORS
Ken’s new routine, which we now present READERS
and . .

free with each set, being especially wel-

comed . . itis so complete. This is one All the best, . ,
-trick that will prove a real investment for
your hard-earned pennies! HARRY.
 0 FOGEL‘S TOP SECRETS -
This famous professional is
now releasing some of his most
cherished secrets . . items he has used to baffle audiences thriughout the world.
release is . . .
The first

THE
GAMBLING GHOST
A pseudo Spiritualistic Seance which, although easy to perform,will baffleand
entertain. The routine is very detailed and complete with Patter . . can be
performed either solo or with a partner; entirely surrounded by audience, in a
small room or on a stage; at a function or banquet, or even as's demonstra-
tion lecture.

Price 12/6 U.S.A. $2.50.

KORNFIDENTIALLY YOURS
KARRELL FOX
Known as the “ King of Korn”, Karrell is one of America’s funniest magicians.
Lots of “Foxy Foolers” - Magi-Props - Kard Kornceptions - Korny Kwick-
ies and Fox’s Favourite-Features . . tricks and “bits of business” that have
proved their worth before all types of audiences.

Price - 14/-

.
0 JUST,PUBLISHED . and acclaimed a “WINNER” already . for it opens .
up a WHOLE NEW WORLD OF MAGIC FOR YOU - -

.?~>*.
;-.
. L REELISTIC MAGIC
..
.?i-:
,cc
,

$A’new’Fifty-Six pp Printed Book

, ’ illustrated with plenty of Photographs
abd Line.Drawings. A great collection of Tricks -
Stunts - “Bits of Busin-
ess’’ . . including - -
VisibJe Silk Penetrations -
Visible Tying and Untying Silks Cardand -
Cigarette Rising - and many other Tricks with Ropes - Treasury Notes -
Cards andSilks.
“REELISTIC MAGIC” opens up for -you a tremendous field of Interesting
and Exciting Magic . . that’s Easy to Do’. . but WONDERFULLY EFFECTIVE!
l Price 7/6 U.S.A $1..SO..

253
 ALAN ALAN’S
TOM THUMB SWORD BOX
A Classic Illusion that can be carriedin the Pocket !
The Tom l h m b Sword Box is a miniature version of t h e famous Sword
Cabinet. In place of a girl assistant, the victim is your thumb or finger,
through which you push Fifteen Sharp Swords!
The action takes place inside a beautiful red and black perspex sword
box (size approx. 2 ins. square), made to fit on the thumb. When the
thumb has been penetrated from all directions the cabinet is turnedshow-
ing the audience the inside, and to their amazement they see a mass of
swords. Butthe thumb has disappeared. Two impactsinone effect!
Absolutely safe and easy to perform ; ideal for close-up p e r f o r m a n c e
the nearer the better! A glistening perspex cabinet complete with fifteen
swords and full instructions. A Quality Product.

Price - Sl/l/- postage 1/6

REPEAT SUPERSONIC
ORDINARY pack of cards are given to SPECTATOR
. . heshufflesthem,and verifies thatthey are ALL
DIFFERENT . . ANY SIX cards from this pack are
placed around a board. PLEASE N0”E: Theseare
Genuine cards and not faked ones added to shuffled
pack. Any p-rson thinks of one. Magician writes
a prediction on t h e board. Person now indicates the
card thought of, and it is moved t o t h e t o p of the
board. On turningtheboardround,it is seen t h a t
magi Predictedthe RIGHT CARD ! ! ! Now .. the
whole effect is REPEATED STRAIGHT AWAY . . and
the predicted card is ENTIRELY DIFFERENT .. a
STUNNING EFFECT !
EASY TO DO . . NO SLEIGHT O F HAND . . you
can do it right away ! Complete with Apparatus, full
instructions and Routine with Patter. Use your own
cards.
Price 17/6 postage l /- U.S.A. $3.50.

UNIQUE
SUPER FANNING CARDS
0 Acclaimedeverywhereas the ULTIMATE in
Quality and Beauty. Printed on real Playing Card
stock, exclusively for us by the country’s leading
playing card manufacturers. The Bold Modern 6‘

Back Design is created specially for fanning”.

The colours are Brilliant ..
Red-Blue-Black-White
and Yellow. The Faces have normal “Spots” and
“Courts” . . plus extra Blank Face card foreffect of changingblank-face pack in-
to an ordinary one. Complete with Illustratedinstructions that make it all so
Easy to Do.
Price 12/6 U.S.A. $2.00.

254
0 THE NUMBER
ONE
TRICK IN THE
HIT
PARADE - -
JEFFREY ATKINS (Past President of the British Ring, I.B.M.) writes ..
. “ Many thanks for the
bottles safely received today..
THEY ARE SUPERB. I feel that you have TOPPED EVERYTHING
.
with these . they LOOK like bottles. Please find cheque herewith for E12 and count me as another
of your customers who rave over this WONDERFUL job you have made.”
This is only one of the many letters received from delighted purchasers of

FANTASTIC
MULTIPLYINGBOTTLES
THE
S U P E RP R O D U C T I O N
OF
NINE
BOTTLES
FROM
T W O TUBES!
A Large Bottle and Glass each covered with an Empty Tube . . mysteriously
change places! The effect is repeated, but to everyones surprise, another bottle
appears . . then another and another and so on until
NINE LARGE BOTTLES ARE PRODUCED ! ! !
Quite an astonishing sight . . one that is Guaranteed to produce Spontaneous
applause from even the most “hard-baked” audience!
Used by the “Stars” with Great Success . . a success which can be repeated by
YOU!
Made in METAL by a master-craftsman . . the Bottles are real beauties and
specially made for EASY HANDLING . . the Tubes are CHROME-PLATED . .
a REALLY SUPER OUTFIT made to the FINEST UNIQUE STANDARD . .
THE TOPS!
ENTIRELYSELF-CONTAINED ..
EASY TO DO . . SuitableforDrawing Room . . Cabaret or
Stage.CompletewithSHOW-STOPPINGROUTINE by KEN BROOKE.

Price f12. U.S.A. $40.00.

BY THE WAY . . the purchase of the above trick can be arranged through
our Unique No Interest Credit Scheme. Initial payment S,followed by three
equal monthly payments of f2/6/8d.
N E WS U P E RR O U T I N E by K E N B R O O K E - - - - - -
.
Full of ENTERTAINING “BITS O F BUSINESS” . . packed with LAUGHS. lots of MYSTERY and
a FINALWALLOPguaranteed to bring a HOWLandspontaneousAPPLAUSE. Many years d
PROFESSIONAL EXPERIENCE are behind this routine, which is so COMPLETE, it runs into FIVE
pages .. . withPatterandmanyIllustrations . . worth E A a ’ s in PERFORMIN’GVALUE
yet the price is El (U.S.A. $4.00.) for the ROUTINE ONLY .. .
BUT . if you buy the UNIQUE set
....
it is quite FREE. If you already have our Bottles .. return the Original Instructions (we insist on
this) and we’ll swap them for this new one FREE.
-
SILK MAGIC is COLOURFUL entertainment ..
It’s so popular because it’s a change from the
“black and white” of the television screen . .
The outstanding effects in this field are undoubt-
edly MARCONICK’S.
Here are just a few of his featured items . . All
Complete with Silks . . .
- - - - - - -
”FOUNTAIN OF SILKS”
An 18 inch silk is placed over the fist, then
from its very centre, appearsanother silk, then
anolher and so on until you have a real hand-
ful of silks of different colours, each of which
can be shown separately and (if desired) used
in other tricks.
Price $1. (postage 1 /-) U.S.A. $4.00.

’’STRETCHING A SILK
A twenty-four inch Silk is tied by two corners to
form a Circle. It is then Stretched . . the circle in-
creases in oircumference until a large ring of differ-
ent coloured Silks is held.
Price &2. (postage I /-) U.S.A. $8.00.
- - - - - - - - -

“SILKS FROM SILK” A 24 inch Silk is shaken and another appears at the bot-
tom corner. This is REPEATED SEVERAL TIMES until you have five large
silks each of a different colour.
Price f2/2/- (postage I / 6 ) U.S.A. $8.50.
“BLENDO” Four single Silks change instantly into one large Multicolour Silk.
Excellent method. Price &2. (postage 1 /-) U.S.A. $8.00.
RAINBOW SILK AND BALLS. An I8 inch Rainbow Silk is passed through
the hand to produce in quick succession . . Four Different Coloured Balls.
Price 17/6 (postage 1 /-) U.S.A. $3.50.
TWENTIETH CENTURY ROPE &E SILKS. Silks are tied, one each end of a
Rope. Another Silk is made to change Visibly to a Rope. . and the first piece of
Rope changes to a Silk (tied between the other two!).
Price 35/- (postage 1 /-) U.S.A. $7.00.
SILKENBOMBSHELL.. Fantastic VANISH of several Large Silks.
Price 55/- (Postage 2/-) U.S.A. $1 1.00.
BEWILDERINGSILKS. They Change places!
Price 25/- (Postage 1 /-) U.S.A. $5.00.
SILKEN FLASH. Startling appearance of a SILK between two others tied on
a Rope. Price lo/- (Postage 1 /-) U.S.A ($2.00.)
 TROUBLEFREEPRODUCTIOR
of BILLIARD BALLS
MARCONICK

With aclever piece of apparatus, the master

Dutch magi-
cian has developed some exceedingly effective methods for
its use. By its aid the performer can

PRODUCEFOURBILLIARDBALLS
between his fingers,

AT ANY TIME DURING HIS ACT !

In the Unique Magic Film “The Magic of Marconick” he uses it as a “running

gag”-that is four balls are produced after each trick and when showing the
film we always heargasps of amazement each time the fourballs appear between
his fingers.

This looks tremendously skilful magic . . yet . . NO manipulative skill is re-

quired . . the “gimmick” does the “work” for you!

We supply TWO sets of Four Balls. . one set RED and the other WHITE ..
plus Ball Clips.

The instructions (with nine photographic illustrations) are by Lewis Ganson

and include “Four Balls from Silk” ..
“Four Balls Change Colour” and “TWO
Silks from One-Plus Eight Balls”.

Price E l . postage 2/6. U.S.A. $6.00.

I. NOTE:
No silks are included as you may have them already, so there is no need to
buy extra ones.

-
 e
.
ACCORDING TO GLENN G. GRAVATT himself, he does not
rememberexactly when he first became interestedin magic, but
he does recall t h a t a t t h e a g e of eight he was doing tricks for his
relationsandfriends a t hishome town of Sabettha, Kansas.
Afterbeingeducated at NebraskaUniversity,hemigratedto
California, where he worked as a newspaper reporter and eventually
reached very high office. Findingthathewanted a change,he
wentabroadfor acouple of yearsandstudiedthemethods of
European magicians, taking movie films of many of them in action.
Returning to America, he bought a string of racehorses, managed his own stable and indulged infour hobbies ;
magic, racing, movies and writing. He sold his stories to the C.B.S. network for television plays, which were
basedupon authentic ha.ppenings fromthe files of theSanFrancisco Police Department,thebranch of the
Police Force with which he has been connected for many years.
Magic books he has written include “Jap Box Tricks” and “Final Selection”, but the one by which he will be
best remembered is “The Encyclopaedia of Card Tricks”-a fabulous volume, t h e research of which covered prm-
ticallyeverymagic book in existence. Having access t o Earl Rybolt’s library (now the LloydJones’ library),
Glenn worked for years on t h e Encyclopaedia which was originally intended solely for his own use. Where
difficult sleights were called for, he substituted subtlety for skill tomake their execution easier. When at length
he decided t o publish, he added the name of a, mythical collaborator “Dr. Wilhelm Von Deusen” as he felt that
a distinguishedsounding foreign name would lend glamourtotheenterprise! Thesuccess of t h e book en-
couraged him t o complete a second volume-doubtless i t would have been another best seller but he did not sell
it. Instead he gave a copy to everyone who had purchased t h e first one!
When he was approached to sell t h e publishing rights of “The Encyclopaedia” he asked nothing in the way of
money. The second edition waspublished by Max Holden aftersomefurtherediting by the late Jean
Hugard in association with John J. Crimmins Junior.
In the 1940 edition in my possession, Glenn Gravatt’a name is not on t h e cover, but both Max Holden t h e
Publisher and Theo. Annemann in the Introduction, acknowledge t h e friendly help of the author, without whose
initial edition there might never have been any such book, and we have great pleasure this month in having him
in the place of honour on the front cover of an edition contributed by SO many of his fellow magicians from
California. Here’s wishing him Health and Happiness for all the years to come.
We take this opportunity of thanking our good friend Gerald Kosky and the many magicians from California
who have made this issue possible, also b r g u Hoover for our front cover photograph.
All t h e best,
LEWIS GANSON.

CONTENTS - -- - - -
From the G m Desk - Lewis Ganson ...... 259 Some Original Escape Ideas -
The Prechosen Chosen Card -
Fred Braue 260 Charles
Ruben ........................ 270
Colour Psychology -
Dr. Eugene E. cloye 261 Gravatt’sRingTransposition
Glenn Gravatt
-
........................ 272
Dr. Stanley Jaks’ Close Up Slate Routine
- Raymond W. Hafler ............ 263 A Mnemonic Thought -
Gerald Kosky ...... 274
DirectDeception - Me1 Brown ............ 264 3 and 4 - Gerald Kosky .................. 275
Robert Haskell Presentation . . . . . . . . . . . . . . . . . . 265 Bisect-U - Dr. Raymond Beebe ...... 276
Boston’sStabbing Trick - Lewis Cansoa Explains -
George L. Boston .................. 266 ‘‘ The Biddle ColourChange” ............ 278
Tommy andthe Turkey -
Lloyd E. Jones 268 Review - Harry Stanley .................. 279

THE GEN is published on t h e l o t h of each month by HARRY S T m E Y , 14, Frith Street, London, W . l . -
Single Copies : 2/6: Twelve months subscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription $4.00.
Editor: LEWIS GANSON. Art Editor:
DENNIS PA‘ITEN.
@ HARRY STANLEY 1962. Contributions are only accepted on the terms t h a t the copyright belongs t o
Harry Stanley.

259
 T H E PLOT OF this quick trick is
simple-a spectator chooses a card
before he chooses it.
1 . You’ll need a pack witha white
border. Shuffle it well, for the psycho-
logical effect, and cut it ad lib. Turn it
face upward and remove and table the two
red ten spots, placing them face up.
. 2 . Ribbon-spread the pack, face down,
inviting someone to point to a card. Care-
fully remove it from the spread and, with-
out showing its face, place it face down
between the two face-up red ten-spots.
‘‘ I’ll not show you this card,” you ex-
plain, “butrememberthat you chose it
freely, and that it’s between the two red
9,
ten-spots.
3. Square the pack face down in your
left hand. Place thethree cards on it.
The top card is a face up ten ; under it is
a face down indifferent card: the third card
is a face up ten.
4. ‘‘ I’ll cut these cards to the centre of
the pack.” Push the top card a little off
the right side of the pack with your left
thumband take a left little finger-break
under it. Double-cut it tothebottom.
A face-down card is now at the top of
the pack and thusit seems in order. Under
it is a face-up ten spot. The bottom card
is the other ten spot, also face-up.
260
5. Riffle the pack upward at the outer
end until the spectator tells you to stop.
Remove a card at the break and show it-
let’s say it’s the Four of Diamonds-and
place it face down at the bottom of the
pack.
6 . Immediately turnthe pack face-up
in your left hand. The Four of Diamonds
is the uppermost card, and it is face-up.
Under it is a face-down ten-spot, unsus-
pected by those watching.
7. Place your right fingers and thumb
at the sides of the pack at the inner end.
Riffle the lowermost card off your thumb-
tip and strip out thelower half of the pack,
retaining the lowermost card on the palm
of your left hand as the upper half of the
pack drops on it. Place the undercut on
top.
8. Spread the pack face down, reveal-
ing the two red ten-spots face up with a
face-down card between them.
‘‘ There’s the firstcard you took, be-
9,
tween the two red ten-spots, you point
out. ‘‘ I didn’t show you that card for a
19
reason.
Draw the three cards from the spread.
9,
‘L
Here’s what puzzles me, you continue.
“How can the card you took before you
took the card you took be the card you took
after you took the card you took?”
9. Turnthe middle, face-down card.
It is the second chosen card-the four of
diamonds.
 COLOUR PSYCHOLOGY
F BY DR. EUGENE
CLOYE
E.

T H E FOLLOWING ROUTINE isbasically a silk

dyeing effect. The presentation and the method
areunique.Thedrawings which accompanythetext
will help make all details clear.

The apparatus required consists of a special split tube

made of metal or opaqueplastic. The tube opens length-
wise with the action of two hinges and a small spring
catch serves to keep it closed as necessary.
The other special feature of this tube is a
narrow collar located inside at the centre.
The collar serves to prevent the passage
of a ring which is sewn into the comer of
the special pocket silk.

The silk mentioned is eighteen inches but

it has been folded diagonally and sewn so
that other silks may be concealed inside it.
This silk, exceptfor the ring opening is like
that employed for the standard version of
the20thCentury Silks. The ringmay
MHDE O F METAL OR
be metal or plastic. It is sewn in place in OPAQUE P L A S T I C
the fashion of the TarbellColour Changing
Silk.

The use of these properties provides a

method for silk dyeing which eliminates the
usual gimmick and leaves the tube empty
without a steal at the conclusion of the
routine. The patter
and
presentation
given here may, however, be used with the
standarddyetube (AI Baker method).
The pocket silk is loaded in the tube at the
beginning of the trick and as other silks
are pushed into the tube, they are forced
inside the pocket; the ring on the silk pre-

26 1

5 . 5 ~UP FOR
ROUTINE
venting its passage completely through the
tube. The pocket silk is removed atthe
finish by opening the split tube part way
with the thumb so the ring may pass the
collar.
In the action of pushing silks
through, thepocket silk is turned inside out A standard magic wand is used to push
so at thebeginning it has been reversed.
The presentation has a psychological trick for two reasons. First, several other
theme. The performer displays thetube
(loaded as shown in drawings) and an un- the audience is not interested in this
prepared darkpurple silk. He comments one.
that the colour purple is made of a mixture secret of the strange illusion so attention is
of blue and red. '' Purple is a colour of centred upon it at the conclusion.
TEE LINKING RINGin
A magic monthly magazine exclusiv-
ely for members of the International
Brotherhood of Magicians. Publish-
ed continuously since 1923. Averages
140 pages, illustrated, each month.
You do not have to belong to a Ring
262
6'
Kings", he explains, perhaps because the
colours which make it up are most widely
favoured of all colours in the spectrum".
" Psychologists have found," he goes on,
' 6
that women tend to prefer red, and men
blue". The performer now offers a psy-
chological experiment on colour perception
based in the colour preferences. He dis-
plays the purplesilk, showing it completely
innocent, and pushes it through the tube.
It appears to come out the otherend (actu-
ally aduplicate). He then requests all
the women in the audience to concentrate
on red in order to see if their suggestion
will have an effect on the colour of the
silk. This time whenthe silk emerges
from the tube, it is red in colour. He
again places the silk into the tube,this time
requesting the men to think of blue. The
silk emerges as blue. Finally, he replaces
the silk again and asks all to think of
purple. The silk (this time the pocket
silk containing the othersconcealed inside)
is once again its original purple. The tube
is opened and no explanation is discovered
for the strange psychological illusion.
Some final notes: The pocket must be
made of heavy silk while the other silks
used in the routine should be very sheer in
order thatthey will occupy small space.
the silks throughthe tube. The pocket
silkescapes attention atthe end of the
purple silks have been shown earlier, so
Second, the tube seems to hold the
to apply for membership the 1.B.M
Write for details and application form to :-
INTERNATIONAL BROTHERHOOD OF
MAGICIANS H.Q.-Kenton, Ohio, U.S.A.
or W. G. STICKLAND, "The Wand",
Dudsbury Crescent, Ferndown, Dorset.
 DR. STANLEYJAKS’

SLATE ROUTINE
AS To RAYMOND W. HAFLER

0 EFFECT: Mentalist has in front ofhim on table three

(3)
. . slates in a row, three blank calling cards with one card in
front of each slate, and a small ivory
elephant in front of the cards. Spectator a playing card and uses the slate to theleft
is given a choice of any number between 1 of him as a support to write on the card
to 100, any card from a deck of playing a number (actually he writes “Six of
cards, and a word chosen by chance from Hearts ”) . He now turns his playing card
a dictionary. The Mentalist predicts with writing face down and slips it under-
ahead of time what theabove three choices neaththe ivory elephant. He asks the
will be. spectatorwhat his number was and we
will suppose he says was
it seventy-six. He
SET-UP: now writes the number seventy-six on the
(a)Three (3) blank playing cards. top of theleft hand slateandturnsthe
slate face down.
(b) One ( 1 ) piece of white chalk.
(c) One ( 1 ) small ivory elephant. 3. The second slatefromtheleft of
the Mentalist is blank on top, but the flap
(d) One ( 1 ) deck of playing cards.
with the words on same is on the bottom
(e) Three (3) blank slates. part of theslate, facing the table. The
( f ) One ( 1 ) Slate flap with the sixth Mentalist now states he is going to write
word of the first one-hundred pages in the the name of a playing card onanother
dictionary printed thereon. blank card and picks up the slate, turning
it over so that the gimmicked flap is facing
him, and immediately spots what
the
ROUTINE: seventy-sixth word will be which we will
1 . Mentalist hasthree (3) slates in call “held” for purposes of explanation.
front of him, in front of the slates he has He now putshis blank playing card against
three blank playing cards, and in front of the gimmicked flap and tells spectator he
the playing cards he has the small ivory will write the name of the playing card,
elephant. but actually writesthe word “held” and
immediately turns the card face down and
2. He tells the spectator to think of any puts it on top of the first card beneath the
number between one to one-hundred and ivoryelephant. He nowdropsthe slate
that he, the Mentalist, is going to predict on top of the slate to the left so that the
what that number will be by writing his gimmicked flap falls with the blank part
number on a playing card. He picks up face up on the bottom slate

263
 4. The Mentalist now picks up a deck
of playing cards and forces theSix of
Hearts on the spectator by whatever force
is best suited for him to use, and then picks
up the top slate to his left and writes Six
of Hearts on same and turns it face down
in front of him.
5 . He now picks up the last blank card
and rests it against the last slate to his right
and tells spectator to take the dictionary
and since the number seventy-six was free-
ly chosen, to turn to page seventy-six and
since the card chosen was the Six of Hearts
to look at the sixth word on that page and
that he will write on the blank card what
he thinks that word willbe. Actually he
writes the number “76” and immediately
slides this card face down beneath both
cards underneath the ivory elephant.
When spectator sights theword“held”,
you write same on slate andturn face
down.
6. You now turn all slates face up and
take cards from beneath the ivory elephant
and turn them face up and they will be in
correct order to put in front of the slates
from left to right.
7. Dependent upon the size slates you
are using, the gimmicked flap on the bot-
tom of the slate to your left may be palmed
away or dropped in your lap as Dr. Jaks
used to do.

D I R E C TD E C E P T I O N - - - -
B Y MEL B R O W N

+ EFFECT : 5-Take the balance of the deck from

A card placed in the centre of the deck, the left hand with the right hand and riffle
rises to the top in a most direct and decep- them ontothe cards on the table. The
tive manner. cards are merely riffled off the fingers and
thumb of the right hand.
+ METHOD: 6-Carefully square up the deck while
I-Shuffle the deck and by means of a it remains on the table.
Double-Lift, show the top ( 3 ) card of the
deck which is held face down in the left 7-Slowly turn over the topcard to show
hand. it has returned to the top of thedeck.
Cl’Imax.
2-Turn the card( s) face down on the
deck and deal the top card face down on Note - Thoughshort, this packs a
L’

the table. punch” and has fooled magicians as well

as laymen. The movesare simple and
3-With a Slip-Cut, done in the hands, yet so deceptive to follow. I recommend
cut about half the deck and place face down the Edward Marlo methods for the Double
on the table. Lift and the Slip-Cut as they are so clean
4-Pick up the face down card, and and this is important. I feel it is too strong
without showing its face, place it on top of to be included in, an Ambitious type rou-
the portion of the deck on the table. tine; but used as a separate item. Try it.

+ Subscribe to
“ Hugard‘s MAGIC Monthly”
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Now inyear
its 19th of publication. Subscription $5.00 per year.
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- 35,’- per year. -
264

TODAY WE ARE living in what can
can be termed the *‘Space Age”,
and before too many years man will be
making trips to other planets. One of the
problemswill be “howto carry enough
food for a journey that might take weeks
or even months”. The answer to this is
a question: Is it possible toput larger
amounts of food into smaller containers?
Now science has gone as far as it can-and
it still isn’t enough-so we turn to magic
for the final solution, andthe answer is
Yes.
Here is a quart of milk. If I were to
merely pour the milk into this pint glass,
it-would fill the glass, and the bottle would
still be half full. But wouldn’t it be help-
ful if we could pour the whole quart into
thepint glass? Let’s try it. To help me
do this impossibility I use a prestidigitizer,
a magic wand with a wire hoop at the end.
This hoop is made of special metal which
works on theopposite principle to the mag-
net. A magnet,as you know,attracts
this prestidigitizer repels. Whenan
object, solid or liquid, is placedin the
centre of it, and it is being repelled from
all sides-something happens. The mole-
cules of the object are pushed closer and
closer together so that they occupy less
room-and as you see, it ispossible to
pour a full quart of milk into a container
that should only hold one pint.
Now let’s repeat that and pour the pint
into a half-pint, and asyou can see we now
have a quart of milk in a half-pint con-
tainer. Itispossible to go even further,
so once again we will now pour the milk
through the prestidigitizer into this small
one-ounce bottle.
The only word of caution is that presti-
digitized food must be stored in air-tight
containers-so I’ll cap this little tube.
Now as you can see, this tiny container
holds a full quart of fresh, whole milk, and
as you may surmise, it is possible to carry
many, many more of these than you can of
the large quarts.
You may wonder how you use this milk,
since a mere spoonful represents a full
glass-so
I’ll demonstrate. You merely
pour a spoonful of this prestidigitized milk
into a glass-wait about five seconds-and
you will actually see it explode, resume its
normal size and fill the glass-there, fresh,
pure and wholesome milk.
I won’t ask you to guess what is in
this little pill box, because I don’t think you
will even be close, so I’ll tell you. One
dozen eggs. That’s right, one dozen eggs.
Not powdered eggs-or dehydrated eggs-
or humming birdeggs-but large, fresh
chicken eggs, shells and all. However,
they have been prestidigitized and made
smaller. T o bring them back to their nor-
mal size, merely remove one from thebox,
bounce it around on the fan so that the
air covers all ofit-and you can actually
see it grow and take its normal shape.
Now, a few seconds more to harden and
it’s complete-and to convince. you that it
is so,I’ll break it.
Incidentally, to get rid of waste foods, a
little magic is quite handy. Merely pour
the egg into a newspaper. Hold it inside
the prestidigitizer for a moment, and lo and
behold-all gone.
265
 Note: I don’t explain anything, as the
effects should be well-known, with the
exception of the “spoonful of milk’ which
‘L
explodes” and fills the glass. This is
something I made up myself.Itis the
principle of the F.L.M.T. glass, with an
open top, but made from two real tapered
glasses.
The diminishing milk is also mine-but
was put out over ten years ago in “Magic
on Parade”.
The egg on fan is standard, a s is the egg
vanishing in the newspaper. Other effects
can be added to make theroutine longer.
This may not be what you want, but by
building a situation it is possible to do a lot
of standard magic that. by itself has little
meaning, but with a logical excuse it makes
the effect very important. That is the
whole point of this-to stimulate perform-
ers to think and justify the use of every
item.

(non-sleight-of-hand method)
CEORCE L. BOSTON
THERE APPEARED A version of this trick in one of the
Tarbell books. However, it was not in the improved
stage it is now. . This is so clean cut that Paul Le Paul pro-
claimed it “the cleanest card stab of them all”. Hope you
like it as I have been doing it over forty years.

* EFFECT:
A deck of cards is thoroughly shuffled.
4 PREPARATION:
The only requirements are a paper nap-
then a card freely selected and remembered. kin, a dagger or fancy knife and our first
Itisreplacedin the pack andthe pack trickdeck the “strippers”. Don’t laugh
again shuffled. A second card is selected, at the cards. Many famous card men have
remembered and placed on top of the pack. used strippers time and time again.
Pack is then cut by a spectator, naturally
bringing the second card selected into the 4 PERFORMANCE:
centre of the pack. Pack is then squared Show the deck of cards and shuffle free-
up and wrapped in a paper napkin. Wrap- ly. . Then have a card selected and reverse
ped pack shown freely from all sides. your deck. There are many subtle ways
to dothis, but the easiest is to fan them out
A fancy dagger or paper knife is then as the card is picked. Close your fan from
shown. Thenit is inserted through the the other end and you -have reversed your
paper intothe pack. While performer deck right under theireyes. Have card
holds pack tightly with knife in it, spectator remembered and shown to the audience.
tears off the paper. Naturally the two We have always believed that any selected
selected cards are found one on each side card should be shown to more than one per-
of the knife. son to eliminate the possibility of “ Oh, I

266
forgotthe card”. Then place it back in
the reversed deck and thedeck is shuffled.
During the shuffle, strip it out andbring it
to the top of the pack. Fan the deck again
and have the second card selected and
shown.Square up the pack but donot
reversethedeck. Requestthatthe card
be placed on top of the deck. This natur-
ally puts both cards together on top of the
deck. The second card down is still the
only card reversed, while on topof it is the
other card. Thenhave deck cutandcut
completed. This will place both cards in
the centre of the deck, one above the other.
Square upthe deck and show top and bot-
tom cards. Explain thatyoudo this to
prove that theselected cards are not on the
top or bottom. Explain that the first card
was shuffled into the pack and the second
card was cut into the pack. Hold the deck
in your finger-tips and show on all sides.
This will fool the wise ones who are look-
ing for a finger-break or side cut in the
pack.

Then show the napkin or serviette. Un-

fold it and place it flat on the table. Place
squared up deck in centre of same. Show
the fancyknife. Then bring up edge of
napkinnearestthespectators. Fold over
the top of the deck. As napkin is placed
down over deck, the other hand strips out
the first selected card aboutone inch.
This is very easy to doasthe deck
is screened from the audience. Proceed
withyourwrapping, be careful not to
push the stripped card back into the pack.
-
L4
Show package wrapped. Then take knife
and place through the end of the package
in a downward direction. See drawing.
You canfeelknifestrikestrippedcard.
Then level knife and push into the deck.
Remember the card above the stripped card
is the other selected card. This move will
put the knife between both selected cards.
A s knife goes into the deck, squeeze ends
throughthepaper.This will cause the disturbing the knife. Then place the deck
stripped card to go back into the deck. with the knife in it on the centre of the
However, the knife is not between the two table. Ask anyone to look atthe cards
cards. Hold the deck tightly and ask spec- on each side of the knife. Possibly a mir-
tator to tear off the paper napkin without acle has taken place. We hope so.

267
 T H E .BASIS OF this effect isthe magic-
al story of the same namethat
appeared in the Magic Wand of June-
September, 1930. Written by Eric D.
Widger, all credit should go to him as a
reading of his original version will show.
I have so redecorated the effect that it may
be difficult for readers of that peerless
magical publication to recognize it. I have
not tried to replace English humour with
American but to embellish a clever story
with “gags” or “puns” of a type not much
used inmagic. The result was so funny
that I must admit, that at the first presenta-
tion, I laughed asmuchasthe friendly
audience, it seemed so ridiculous.
The material used can be magically pro-
duced from such a device as Jack Gwynne’s
Box, although it is not essential to the
effect. The numbers in thestory refer
to a resume whichfollows and explains
the action.
‘‘ Once upona time, in a little house ( 1 )
that stood by theedge of a wood, (2)-this
is the only thing ‘knotty’ about this story
(3)-there lived a happy family, Papa,
Mama and little Tommy who was rather
blue, for he had spent a weekin Los
Angeles last Sunday (4).
Now Papa and Mama had to go down to
the sea-shore and they told Tommy that
while they were gone he must be a good ‘‘ Fifteen minutes later the doctor arriv-
boy and not eat the turkey that wasin the ed (23) and examined Tommy wholooked
ice-box for dinner. Tommy said he would as if at any minute he would kick the buc-
268
be good, but you know howlittle boys are,
his promise was only a blind. (5) Papa
and Mama thought it would be safe to leave
Tommyhome however, so they hopped
into the family car ( 6 ) and off they drove
to the sea-shore. See? (7). And while
they were at the sea-shore (7) watching
(8) the waves (9) roll in ( 1 0) , Tommy
got theTurkeyandate until he was
sick ( 1 1).
“ Well, Papa and Mama, who were hav-
ing a fine time at the sea-shore (7) watch-
ing (8) the waves (9) roll in ( 1 0) finally
decided it was about time to go home, for
it was getting dark (1 2 ) . Hey! not that
dark! Anyway, the shades of night were
falling fast ( 13) and Papa and Mama de-
cided they had better hurry home, so they
got into the familycar (6) andstarted
back. The wind rose (14) andhow it
blew! ( 15). Finally it began to snow.
( 16) I forgot to mention, this takes place
in Ireland. When they got home they
found a very sick Tommy. He had broken
out in spots all over ( 1 7) and was very
white under the gills ( 18). Mama got so
excited at seeing Tommy so pale ( 1 9) that
she began to bawl (20) and while she was
bawling ( 2 1 ) Papa ’phoned the doctor to
come right over (22).
ket. (24) ‘ Hmmm,’ said the doctor,
merely a case of too vast an accumulation
of chyme past the duodenal orofice. We
muststarvethe patient.’ So they took
Tommy and locked him in a dark room.
( 2 ) Night fell and day broke without hurt-
inganything,and several days flew by
(26) before they looked at Tommy again,
and they found that he had shrunk in size
but the spots still remained! (27). ‘We
must operate,’ said the doctor so they took
Tommy to the operating room (28) and
went to work. When the doctor came out
he shouted ‘ Excelsior, (29) the operation
was a success!’ and lo and behold out came
Tommy minus the spots! (30).
‘That’s fine,’ said Papa and Mama, ‘but
Tommy isstill small ! He is too small
even to play the piano. Whatarewe
‘L
going to do?”. Very easy,” said the
doctor, ‘‘ I will make him so he can play!
Soon hewill be playing like a genius.”
“ Incredible,” shouted Mama andPapa,
“and to think he has never practiced!”
“ Anyhow, the doctor performed an-
other operation and little Tommy was as
good as new. (3 I .) And once again
everyone was happy in the little house ( 1 )
that stood by the side of the wood ( 2 ) .
( 1 ) Little house. In England, this is
called a ‘‘Doll’s House Changing Box”,
and is a very popular piece of apparatus.
In the United States, Thayermanufactured
a “ Haunted House” which is a Jap box
modelled after a brick house. My own
house is built on these lines. The house
contains at the beginning the three silks,
Papa, and Mama andTommy, whichis
necessarily
blue.
Behind the flap
is a
large spotted blue silk and a smaller four
inch spotted silk. The house should be
shown emptyat the beginning of the story
as well as at theclose.
(2) Wood. A piece of stove wood with
a conspicuous knot in it.
(3) Knotty.Attention called
is to
the above knot.
(4) Thirteen inch silks are the best to
use. The only colour requirement is that
Tommy should be blue.
(5) Blind. A window shade orblind.
Picked up from beside the table where it
has been resting.
(6) Family Car. A toy auto inwhich
the silks are placed to take a ride. Tommy
goesback into the house and is changed
for the same sized spotted silk which, by
the way, has had one corner bleached.
(7) See? Shade your eyes and gaze
around like an Indian.
(8) Watching. Drag forth a flock of
dummy watches and shake them around.
-(9) The Waves. Wave your hand.
Silly? Yes, but it gets a laugh.
( I O ) Roll in. A roll of bread. The
right kind of “bun” might also aid. But
enough of that, a bun is the lowest form
of wheat. O w ! I meant a pun is the low-
est form of wit.
( 1 1 ) Ate and ate until he was sick.
Two eights and a six spot from a deck of
giant playing cards.
( 1 2) Dark. The lights suddenly go
out. A friendly person, if any are still
around, will help you here and turn them
on again after you say, ‘’ Hey, not that
dark!”
( 1 3) Shades of night were falling.
Unroll the blind of (5) and let it fall on
the floor.
( 14) The windrose. A flower
( 1 5) And how it blew! A nose rooter
cango into action here. Don’t mind the
response from the audience.
( 16) Snow. A scattering of green
confetti laboriously made by cuttingup
some tissue paper strips.
269
 ( I 7) Broken out in Spots. The silk in the house where it can be switched
spotted silk is here taken from the house. for the miniature spotted silk which is to
Mine was made by glueing confetti to the be later produced.
blue silk, a tedious job but a better appear-
ing silk than painting effortsproduced. (26) Dayafter Day. An old desk
calendar from which several pages are scat-
(18) White under
the Gills. The tered to the winds orbreezes.
white cornerof above silk.
( 19) Pale. A small sand pail. (27) Shrunkin Size. Herethefour
inch spot silk is drawn from the house.
(20) Bawl. Droparubber. ball into
the pail. (28) Operating Room. A card box
which has concealed under its flaps a small
(2 1 ) Bawling. A shower of balls are unspotted silk with a sprinklingof confetti
let go. so that it will seem that the spotsmagically
(22) ’Phoned. A toy dial ’phone is drop off when the silk is withdrawn.
here played with. At a stag it can furnish
a few extra laughs. (29) Excelsior! Some packing mat-
erial.
(23) FifteenMinutes. A quarterof
an old alarm clock dial. (30) Another Operation. A paper
(24) Kick the Bucket. Give ( 19) a bag with a flap. In the bag proper is the
lusty kick. I knew you’d get a kick out of duplicate of the original Tommy silk. The
this trick! small Tommy silk goesbehind the flap and
the bag is torn open to show the silk has
(25) Dark Room. Place thespotted grown.

BY CHARLES RUBEN

No. 1 4 R I E N T A L TORTURE PIPE .. .This is a five-

foot length of heavy gas pipe, having a one-inch hole drilled
at either end (both ends). Locked to each end is one cuff of
a regulation pair of police manacles, as shown in the sketch.
Wrists are secured, as shown,but escape is made . . Method:
Just oneindividual “bracelet”, i.e., one-halfpair is beforehand
tricked by a locksmith so that a good pull suffices to release.
Free hand then unlocks other wrist with key. Re-snaps.

Method: Lock used is a “Spirit” pad-

NO.2-FISH NET. This is a heavv
fish lock obtainable fromsome dealers.
It
net in which artist is confined by a-long may, however, be brought forward by a
chain and a padlock, which may be sealed stooge, to throw audience off. Performer
.. .After a few minutes, performer appears opens lock through netspace with a needle
afreeman. (This was suggestedbya gimmick, then he undoes chain. In above
sequence in an old Houdini serial film.) sequence ropes were used.

2 70
4

hslde of door Sectlov\

No. L I C E BOX. Tragic items in

newspapers of youngsters suffocating in
discarded old ice'boxes suggested this. This
box is examined, but escape made without
leaving a trace.

Method: Beforehand, a minute holeis

drilledindoorinside just opposite latch
mechanism. Same is now covered over
with plastic wood or putty of same colour,
to allowquick inspection. To get out,
same is removed and an old-style hatpin or
similargimmick is used. If desired, hole
can be then re-concealed, butnot really
necessary. . . . A small air-hole drilled in
the back is advisable, obviously.

27 1
 BY CLENN CRAVATT

1. EFFECT: The performer shows two large rings, each

of a different colour, for instance, one red, the other
yellow; also two ribbons, one red, the other yellow, to match
the colours of the rings. The red ring is threaded onthe
red ribbon, andthe ;ellow ring onthe
yellowribbon. The ribbons, with the
rings on their centres, are stretched out on
the table. each ring on a ribbon of corresponding
colour. Stretch the ribbons outon the
So as to securely imprison each rihg on table horizontally, one just about the other,
its respective ribbon and make escape im- and running parallel to it. The rings are
possible, eachring is pinned or tied in place. not in the exact centre but a little to the
A handkerchiefistossed over the rings, right of centre for a reason that will become
but attention is called to the fact thatat all apparent later.
times both ends of both ribbons remain in
Now for the most important point of all.
full view.
With the ring lying flat on the table, the red
The performer states that he will under- ribbon passes under the left side of the red
take an impossible procedure. He reaches ring, and over the right side of the ring.
under the handkerchief. He removes his The reverse is true with the yellow; that
hands an instant later,declaring he has suc- is, the yellow ribbon travels over the left
ceeded in making a magical transposition. side of the yellow ring and under the right
Taking the endsof the ribbons between his side of the ring. (Figure 1 .)
hands, he lifts the ribbons from the table,
tossing off the handkerchief at the same Tie each ring separately to its ribbon by
time. The red ring is now seen to be bringing up a loop of ribbon on either side
on the yellow ribbon and the yellow ring of the ring. Tie the two loops in a single
on the red ribbon! bowknot, drawing the knot down tightly
onthe ring. Special note:Take care, in
PROPS.: All props are unprepared. tying the knots, not to alter the position of
I use plastic bracelets or bangles which the rings. That is to say, do not turn the
come in a number of colours and which I rings over. The rings must be replaced on
bought in Woolworth’s for five cents each the table, after the knots have been tied,
in U.S. money. Theyare aboutthree with thesame side downaswasdown
inches in diameter. The ribbons are ap- originally.
proximately thirty-eight to forty-two inch- Due tothe red ribbon running under
es in length and a half-inchwide. The the left side of the red ring as the ring lies
handkerchief may be silk or linen. Until flat, the knot is tied to the left side of the
you have performed the trick a number of ring. With the yellow, it will be easier to
times, I suggest using silk. Silk gives you draw the knot against the right side of the
sufficient cover to preventthe audience ring. (Figure 2.)
seeing what you do, yet enables you to see
the ribbons so that you can make the one To perform, both knots should be to-
secret move correctly, without fumbling. ward the right. Therefore the red ring is
rotated so that its knot is at the right side.
WORKING: Start by threading However, keep the left portion of the rib-

272
bon still to the left. Set the red ring over
the portion of the ribbon which runs to-
wards the left, so that this portionruns
from the knot at the right side of the ring
underneath and across the ring’s central
diameter. (Figure 3 .)
Now stack the
two rings withthe
yellow on top of the red. The position is
this:The ribbons are stretched outon
either side of the two stacked rings, the
rings resting on the red ribbon, with the
yellow ribbon running over the top of the
rings. Theknotsareatthe right. (Fig-
ure 4.)
Cover the rings withahandkerchief.
You may have to bunch the handkerchief
a little to prevent covering too much of the
ribbons, as you want bothends of both
ribbons to remain in view at all times.
Point out the fact that the ends of the rib-
bons are always in full view.
Tell your audience that you are going to
undertake a magical transposition of the
rings. Put bothhandsunderthe silk.
The audience will not be able to detect
what you do through thesilk, but its trans-
parency will enable you to see that you do
not get the ribbons mixed up while doing
the following :
Push asmall loop of yellow ribbon down-
ward through both rings, bringing it out
from under the bottom red ring and draw-
ing up the loop so that loop lies flaton table
above the rings. Now pull up a small
loop of red ribbon through both rings and thumb and index finger-tips of the left hand
bring it over the top of the upper yellow press together. The right hand comes out
ring and place this loop on the first loop so from under the handkerchief and if neces-
thattheopenings of both loops are to- sary adjusts the silk so that it continues to
gether. (Figure 5 . ) cover the left hand. All of this takes but
a second. Assertthatthe magical trans-
This action drawsin and somewhat position has been made.
shortens the left ends of ribbons ; thus the
reason for starting withrings a little to the Seize the right endsof both ribbons with
right of centre. In forming these loops, the right hand and pull the ribbons out to
make sure the left ends of the ribbons are the right. The rest happens automatically
not drawn under thesilk but stayin view. and instantaneously. It is much easier for
me to do it than to tell you how to do it.
T h e left thumb-tip goes through both red Everything works so easily and naturally
and yellow loops above the rings, then the that I am completely unconscious of what

273
I do, andin order to find out, so that I could ring, due to the left thumb through the
describe it, I have been forced to work it two small loops. The mere pulling of the
for myself over and over again as I write. right ends of the ribbonsaccomplishes
everything automatically in one action.
For one thing, the knots come untied as
the right hands pulls the ribbons. The left Ropes dyed different colours may be
ends of the ribbons, sliding around the left used. Also, a safety pin maybe used
thumb, are drawn through the rings. When instead of knots. The rings are stacked so
the extreme left ends of the ribbons are that the red ring is at thebottom, the yellow
reached, the fingers of the left hand tighten ring on top. The red ribbon runs under
on the ends, retaining their hold of the rib- the left side and over the right side of the
bons, the hand sliding toward the left if red ring. The yellow ribbon runs over the
necessary. left and under the right side of the yellow
ring. Thus, at the left, therings are with-
At almost the same time the hands are in the ribbons. At the right, the ribbons
raised from the table, permitting the hand- are between the two rings. Point of safety
kerchief to slide off so as to reveal the cli- pin goes through both ribbons just at the
max. You may find the handkerchief will right side of rings. Both rings are then
drape itself over the lefthand in which case pressed within the opening of the pin and
the hand tosses it off without relinquishing the pin clasped shut.The rest of the
its hold of the ribbons. The red ring is action is the same as above. At the finish,
now seen to be on the yellow ribbon, the the safety pin is undone to show that the
yellow on the red. two rings have changed places.

The pulling of the right ends of the rib-
bons toward the right causes the knots to
untie themselves andatthesame time,
secretly draws the left end of each ribbon
out of its own ring and through the other
I have evolved a novel routine using two
ribbons and two rings, and the trick just
describedis the climax. I may describe
this at some future time, but for the present
I have used enough space.

- - - - By GERALD KOSKY

IF I WERE doing the memorization you save the time and effort that is requir-
test of memorizing all the pages in ed to memorize each new issue as itis
a popular type of magazine such as the published.By using the same issue over
“Saturday Evening Post”, “Look”, “Life”, and over again, all one needs to do is to
etc., etc., I’d buy about one-hundred issues spend a few minutes each day reviewing
of the magazine I was going to use (the the contents of the magazine in order to
same issue) so I’d have a supply on hand keep it fresh in the mind.
for that many performances.
When performing the effect, the maga-
In my estimation, the audience’s main zine is torn apart so that the pages of the
interest is in the fact that you have memor- magazine may be distributed to over a hun-
ized the contents of each page in the maga- dred or more persons in the audience.
zine and, you, as the performer, plant the Persons in the audience are then requested
idea into their minds that the issue of the to call out the number of the page they
magazine you are using is a recent issue. are holding, and you describe the contents
that is on the page that has been called to
By using the same issue of the magazine, you from the audience.
274
3 and 4 . - - - - - BY GERALD KOSKY

READING MARLO’S “ Quick 3-Way” effect in issue No.

1 5 of IBIDEM, recalls to mind the methods I’ve been
using for a number of years in which I’m able to show the
same card on top of a pile of cards three or four times.

My excuse for showing the same card on top of the pile

“
three timesis as follows: For your pleasure and entertain-
ment, permit metoshow you howthegame of “3-Card
Monte” is played . . . In order to do so I use 3-Aces. The
I.
Ace of Spades, Ace of Hearts and the Ace of Diamonds.

You have the three Aces in your hand No. 4. Turn both cards as one face
faces down, with the Ace of Spades as the downand remove top card and placeit
top card. You turn over the top card and under the two top cards. Top card is now
say ‘‘ Ace of Spades”, smile and place it theAce of Spades. Top card is again
on the bottom of the pile; then say “The turned face-up to show thatit too is the Ace
next Ace will be a red one”. When card of Spades.
is turned over, it is seen to be the Ace of
Spades. Act annoyed and place it on the If you want to use four Aces for an Ace
bottom of pile; then say, “ The next top effect and decide to show at the start that
cardwill be a red Ace”. Top cardis the four cards arefour Aces of Spades.
turned over and it is seen to be the Ace of The handling is as follows :
Spades. Say you are unable to do the “3-
Card Monte Routine with three Aces of 4 SET-UP:
Spades”. Throw the three cards onthe
table. Spectators will be surprised (we Ace of Spades on top of the other three
hope) when the three cards are turned face Aces. Cards are faces-down.
up and it is seen that there is only one Ace
of Spades with theAce of Heartsand No. 1 . Spread the cards toshowthat
Diamonds. you have four cards in your hand. Insert
your little finger between the second and
third card as a get-ready.
4 METHOD AND SET-UP:
No. 2. Close the spread of cards and
Ace of Spades on top of the other two turn over the top card on the pile to show
red. Aces. that it is the Ace of Spades. Turn the Ace
of Spades face down; remove the top two
No. I . Turn top card over and show its cards as one (this will be easy to do because
face (Ace of Spades). of the little finger holding a break between
the second and third cards) and place the
No. 2. Turn Ace of Spades face down, two cards as one to the bottom of the pile.
do two-card push over and place the two (Ace of Spades is now second card from
top cards as one under remaining card so bottom.)
that they become the bottom cards. (Ace
of Spades will now be the centre card.) No. 3. Do a three card push-over or, if
you prefer, do a bottom single card buckle
No. 3. Do two-cardpush-off and turn and turnover the three cards as one to show
the two cards over as one card to show its the face of the card as the Ace of Spades.
face; it will be the Ace of Spades.
275
 No. 4. Turn the three cards over as one one (Double lift) to show the face of the
card so that they are back-up again on top card to be the Ace of Spades. Turn the
of pile. two cards as one face-down again on top
of the pile.
No. 5. Remove top card and place on
bottom of packet. In doing so, insert the
little finger as a get-ready, between the No. 7. Remove the top card and place
second and third cards . . .Second card from on bottom of pile.
top is now the Ace of Spades.
No. 8. Turn top card of pileover to
No. 6. Turn over the top two cards as show that it too is the Ace of Spades.

BISECT4 - - - BY DR. RAYMOND BEEBE

SEVERAL YEARS AGO, in a series of “Little Miracles”

effects, I brought out a Rope Penetration trick and
marketed quite a few manuscripts showing the method used.
However, the effect was never published, so that now after
nearly twenty years, it mayseem fresh and of interest to CEN
readers. The advertisements used atthat time were some-
what exhuberant, and to quote:

‘‘ The Last Word In Petetration

Effects” . . “ Different From All Others” The preparation is relatively simple, and
. . single rope . . single knot . . no gim- may be set up for use either by the per-
‘4

micks . . no clues . . simply put a piece of former on himself, or similarly prepared

rope around your waist, or that of a spec- for use on a stooge. There are two pieces
tator, and tie a single unfaked knot, give or rope used, but the audience never knows
ends of rope to two spectators to pull, and of the second one.
‘6
Use ordinary soft
‘ presto’ -just like a ghost passing through white magician’s” rope, each piece
an old castle wall, the rope penetrates the approximately ten-foot long. Take off
body, andtheknot remains in the rope your coat, and wrap the centre portion of
and may be rigidly examined.” one rope aroundyour waist (orthat of
the stooge) and with ends in front of you,
Well, that was the way the thing read, use a double twist of strong white cotton
but like most all advertisements for magical thread to tie this loop of rope around your
marketed tricks, there had to be a catch in waist, the tied portion now in front, atarea
it somewhere. However, the effect on the of your beltbuckle.Nowslide this loop
audience was just as described, and I have of rope around your waist so that the tied
successfully used it many times over the portion is directly at the rear of your body,
intervening years, and hope GEN readers and separate the loose ends so that one long
will give it a try. end is to your left, and the other to your

276
right. These loose end sections are ac-
cbrdion-pleated and tucked into therespec-
tive right and left hip pockets, but with the
final loose end hanging clear of pocket.

The centre section of this rope, which

encircles the waist is tucked out of sight
just inside the top front edgeof trousers.

One further bit of preparation is to pre-

pare a sort of “servante” of thetrouser-top
at rear of body, into which will later be
pushed the other rope. To insure that this
.L
servante” space will stay open, wad up
a couple of newspaper balls to about the
size of tennis balls, and tuck one at either
side of trouser-top at rear of your body,
providing an opening of some eight or ten
inches in width, and the pressure of the
paper balls willkeep this portion of trouser-
top acouple of inches away from thebody.
Put on your coat, and with the other un-
prepared rope at hand, you are all set to
perform “Bisect-U”.
The presentation is to exhibit the unpre-
pared rope, and toss same to a nearb?
spectator to briefly examine, and ask him
to bring it toyou. Now while you are get-
ting the services of a second spectator to
assist, casually ball-up the rope in your
hands with a few inches of ends protrud-
ing, and get the two assistants to stand at
either side and a foot or so in front of you.
With the balled-up rope in one hand, use
that hand to push back the coat on that
side asrope goes to rear of body under
yourcoat,andsimultaneouslytheother
hand goes under the coat and back of body waist and pulled the ends intoview in front.
on opposite side, presumably in the ordin- Tie a simple unfaked knot in this visible
arygesture of starting to tie the rope part of the rope and pull up against your
around yourwaist. Immediately and with- body. Hand an endtoeitherassistant,
out hesitation, cram the bundle of rope in- and build up a bit of suspense before you
to the “servante”. making sure the ends ask them to pull sharply on the rope. At
get in first so that theywill not accidentally your signal, they pull, and of course the
get loose, and in same continuous motion, secret cotton breaks, and allows single rope
grasp the protruding ends of hidden rope to come clean in front of you, the knotstill
from respective hip pockets, and pull same in the rope.
into view in front of your body, pulling
forward until the tied portion at rear stops Your hidden rope stays comfortably in
your pull. Done casually, appears
it the “servante” until after your act, and the
that you merely put the rope around your rope in view may be used for other magic.

277
 “THE B I D D L E
COLOUR CHANGE”
MANY CARD EXPERTS including
Dai Vernon consider that the Colour
Change, when competently performed, is
one of the mostmagicaleffectspossible
with a pack of cards. The description of
the method which ‘ghows was sent to me
by Elmer Biddle of Los Angeles in 1958 pack resting on the second, third and little
and has thestamp of approval of both fingers, while the thumb is at the centre of
Tenkai and Charlie Miller. the top side. Show the right hand to be
empty (front and back), and at the same
Although almost all of the work for this time the left index fingerpullsback the
sleight is done with one hand, both hands rear card of the pack for approximately a
play a part in presenting it, but the actual quarter of an inch and holds the break.
sleight is done almost entirely withone The right hand now removes the pack from
hand (which gets some small assistance the left hand by placing the right thumb
from the other hand).The presentation at the bottom corner of the inner edge, the
of the Colour Change, as the audience sees right index finger at the opposite edge
it, is as follows:- about half way up, while the second finger
of the right hand picks up and holds the
The left hand holds the pack at the finger break. In this position the third and little
tips, face of pack to the audience, while fingers are below the pack which allows a
the right hand is shown empty front and good view of the face of the pack.
back. The right hand now removes the
pack from the left hand, face of pack still Show the left hand empty (front and
visible, while the left hand is shown empty back) and at the same time move the right
frontand back. Theleft hand now re- little finger slightly inward under the pack.
moves the pack from the right hand and Release your hold on the rear card which
holds it, as at the beginning with the face will cause it to fall onthe little finger. .
of the packstill in full view. The right After thecard is stopped by the little finger
index finger points to the face of the pack a slight upward pressure applied by the
and after a slight hesitation, the right hand little finger causes the card to pivot against
moves forward, masks the pack, then slow- the bottom of the pack and come into a
ly withdraws with the fingers spread wide horizontal position under the pack. The
apart revealing the change. card isthen held between the third and little
fingers, about half an inch from the tips.
4 METHOD: The lefthand now removes the pack and
The pack is held face out at the finger holds it exactly as in the beginning. The
tips of the left hand,the bottom side of the right index finger points to face of the

2 78
pack, hesitates for a second, then moves is being done is that the pack is merely cut,
forward masking the pack, leaves the palm- showing an indifferent card. Each time
ed card, then slowly withdraws, spreading the hand moves upand masks the pack, the
the fingers wide apart to reveal the change. left finger tips hold backa card or two from
the palmed packet, then as the right hand
The sleight, when properly performed, is moves downward, an indifferent card is
indetectable as not the slightest suspicious seen on the face of the pack. Finally,
hand movement is visible. when all the cards are replaced, the original
face card again becomes a new face card,
A series of multiple Colour Changes can adding somewhat to the mystery of the
be performed as follows. multiple Colour Change.

When the palmed card is placed on the
pack, instead of withdrawing the hand with
fingers spread wide, the right hand moves
downwards in a smoothing motion carrying
with it a groupof the pack of cards. All that
The sleight will also be found useful for
close-up table work, for palming off a card
in the act of handing the pack to be shuffl-
ed ; also for adding a card to a group
already counted onto the table.

HOW SAD IT IS . . some may have got the wrong impres-

to have to record the passing of another sion of his real quality . . for beneath the
two friends and great magical characters . . “steel” beat a kind heart. Of course, we
JohnnyRamsay and George (Gilly) used to argue like mad . . but, it really was
Davenport. At the age of 85, one might all
in good fun. When I used to go to
say that Johnny had had a fair whack of America regularly to the Conventions, I
life, but, nearly thirty years younger, begged him to come along with me . . “No”
George should still have had a lot in front he would reply . . “too busy” . . remember-
of him. ing how ill I had made myself by overdo-
ing it . . I hoped he would relax a bit . .but,
Apart from magic, Johnny was askilled it was not to be. My Billy used to haunt
his shop ever since he was quite atiny kid
draughts-player and winner of many troph-
ies and prizes for flower cultivation . . but and at the conventions he used to tell the
customers at our demonstration stall that
of course it was as a skilled manipulator
they ought to go to see “Uncle Cilly” for
that he was best known andbeloved among
magicians. He couldfoolthe pants off good magic!
the best . . and took impish delight in so
doing. Dai Vernon was one of his greatest
I am sure you will join with me in ex-
fans . . he often told me that there was no tending our deepest sympathy to his wife
one quite like dear, gentle Johnny. and family so sadly bereaved.

George was a different character . . his

consuming passion was his family and the KEN BROOKE
famous Davenport magic business . . for
both of which hewas immensely proud and will, from now on, be in permanent atten-
worked unceasingly. Rather brusque of dance at the Unique Studio, as the result
manner and down to earth in his comments of his finally giving in to my years of nag-
2 79
ging to bring his family toLondonand
settle down here. Ken is a great magician
and entertainer . . his tremendous skill and
long experience will be available to visitors
to the Studio and believe me, every pur-
chase will bring with it helpful instruction.
Which reminds me . . he will also be avail-
able for private lessons and, taking a
feather out of Lou Tannen’s cap we are
cooking up a scheme for a
UNIQUE SCHOOL OF MAGIC
When we have ironed out the details of
our scheme, I will let you know . . if in the
meantime, the idea interests you . . drop
me a line.
NOW FOR THE NEWS
we have all been waiting . . the publication
date of the eagerly awaited book by Dai
Vernon and written by Lewis Ganson
MALINI AND HIS MAGIC
. . . will be MID APRIL.
A wonderful record of the life . . tricks
and methods of one of the most fabulous
characters in magical history. A man who
with hismagic became friend and confi-
dant of Royalty . . Presidents and Big
business tycoons all over the world.
Nine thrilling Chapters,Malini the Man,
Malini’s Full Evening Show . . Malini’s
Methods (description of the workingof his
tricks) . . Malini at the Bar . . Malini at the
Dinner Table . . Malini and a Pack of Cards
. . Miscellaneous Magic . . Malini the Pro-
moter . . Malini and Edwin Dearns.
A 100% MAGICAL SERVICE FOR YOU !
HARRY STANLEY 14, FRITHSTREET,LONDON,
.- 3 minuter from Piccadilly . . Leicenter Square or Tottenham Court
Telephone
Callers please Note - Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday - 9 a.m. to 4 p.m.
280
Dozens and dozens of Tricks and subter-
fuges used by this master magician, as used
by him in Close up and Stage performance.
Many Illustrations by Dennis Patten. .plus
lots of interesting and Historic Photo-
graphs. Tricks include . . Silk Vanish . .
Colour Change Silk . . Levitation . . Pene-
tration and Vanish of a Tumbler . . Blind-
fold Card Stab . . Malini Egg Bag . Cut .
and Restored Ribbon . . Bill, Lemon and
Egg . . Button Trick . . Productions of Two
Bowls of Water . . Production of a Block
of Ice . . Vanishing Tobacco . . Tricks with
Sugar . . Bill in Cigarette . . Cutting the
Menu . . Jarrow’s Cigarette Trick . . Coin
Fold . . Water from Walking Stick . . Coin
Vanish . . Whisky and WaterTransposition
.
. . Magnetic Cigarette Paper . Production
of a Glass of Beer. . Coin Switch . .Vanish-
ing Whisky. . Book Test . . Billet and Tele-
phone Tricks . . Matching Matches . .
Colour Change Cards . . Card Vanish . .
Cards from the Mouth . . Siamese Aces . .
Card in Hat . . Riff le Force . . Peek Force . .
Side Slip . . Pack Vanish . .and many others
. . Tricks that baffled all the magicians . .
press men andpublic alike.
I would like every magician to buy this
book . . for from this great feast of tricks,
methods and stories-one should gain a
wealth of knowledge and instruction.
The price of the book . . which by the
way is Bound in Cloth, with Gold lettering
and Dust Jacket . . is 25/- . . and as the
demand will be extremely heavy, I do
recommendthat you send in your order
immediately.
All the best,
HARRY.
W.1.
Road, Tube Btation - -
- GERrard 5409
 ANOTHER
FINE
SMALL
ILLUSION ...
V A N I S H I . N GR A D I O
TO LIVESTOCK
On your table is seen a handsome Portable Radio Set . . size eleven inches by
seven inches by five-and-a-half inches . . finished in Red Leatherette. Switch-
ing on . . the set lights up. A nicely decorated wooden carrying case is lowered
down over the radio set and instantly raised to disclose a DOVE . . RABBIT or
MICE sitting there! The Doors of the carrying case fall open giving a clear
view right through . . the RADIO SET has VANISHED COMPLETELY!!
Entirely SELF-CONTAINED . . this is the Cleanest and Quickest Vanish and
Transformation you have ever seen. EASY TO DO . . you can put this in
your show RIGHT AWAY.
Price &lO/-/- U.S.A. $40.00.

CONVERTS ANY CHAIR INTO

AN EXCELLENT MAGIC TABLE
...IN SECONDS 1 1
Size of table-top is 20 inches by 12 inches ..
justrightforthenormalshow(don'tforget
that unused props. can be put on the chair seat
as well). Handsomeblackvelveteendrape
with Gold Fringe. A PRACTICAL JOB FOR
THE PRACTICALPERFORMER.

Price f3/15/- (postage 3 / 6 )

U S A . $15.00.

Credit fm the original idea

Mirror Magic Boer to OSWALD RAE, but

7
/l/ ,--A
this is the presentation that I
gave to the late Peter Waring, and i t was eucceasfully used
by him on the Music Halls. A Mirror in a handsome wood-
- enframe (14ins. by Gins.), ie wrapped in a sheet of neww
paper, is tapped with a pencil (or wand) to show that it is
\? perfectly solid . . , Suddenly the aencil eoea RIGHT
at different plrtces I Performer then goes on to
plish an even more astonishing faat I He Bas& the
completely in HALF ! Finally, the paper is ripped
d theMirror is seen t o be Intact! ComDlete with
v instructions. This is a reallyoutstanding model: Easy t o
J- ___._
-1- :L DIPUT A l l l A V r

Price 251- (postage 3/-) U.S.A. $5.00.

28 1
 UNIQUE

RECORD
MYSTERY
- -
The present-day popularity of the Gramophone Record, lends itself to this
Outstanding Small Illusion. A 12 inch Gramophone Record is given for Exam-
ination and signed by member of the audience for positive identification . . is
placed in a thin decorative case ( 12 inches by 12 inches by half-inch) and rest-
ed on a solid wooden Rod (painted to represent a giant gramophone needle . . it
may be examined if desired). The Record is then pushed right down into the
case thus penetrating the “needle” in the most baffling manner. The Record to-
gether with the “needle” actually impaling it, is immediately given out for Ex-
amination and the initials verified!
The working is “Clean as a Whistle” . . EASY TO DO.
Suitable for Drawing Room . . Cabaret . . Dinners . . or a large stage.
Apparatus is well-made and tastefully decorated and is Complete and Ready to
WorkRight Away . . nothing further to buy. Routine and Patter (including
some comedy) included.
Price dt2/15/- (postage 3/6) U.S.A. $11.OO.

An Excellent follow up to above Record Mystery . ...is

VANISHING
GRAMO.PHONE RECORB
On a small skeleton stand is seen a cardboard Gramophone Case. The case
is opened . . the record taken out . . freely displayed . . replaced in its case and
returned to the stand.
NOTE: If you have The Unique Record Mystery . . the procedure is simply
that you take the record just “penetrated” . . place it in the cardboard case and
then on the stand. You next show a large Paper Bag . . obviously empty and
place it on the stand. The case . . with record inside . . is taken up and covered
with a Silk . . then a moment later . . The Record Vanishes . . the case being
opened and shown completely Empty. Going over to the paper bag, you reach
inside and actually take out the very same record (remember it was initialled) !!
Easy to do . . complete and ready to work Right Away. Suitable for Draw-
ing Room or Stage . . A splendid trick on its own . . it’s doubly effective if
worked as a “follow-up trick” to previously mentioned “Unique Record Myst-
ery”.
Price S2/2/- (postage 3/6) U.S.A. $8.50.
i. SPECIAL OFFER: If the TWO tricks are taken at the same time . . the
price is only S4/10/- plus 3/6 postage. U.S.A. $18.00.

282
 K U L L E R VISION
A Palatable Mystery by
BILLY DAY

Here is a colourful mystery with that touch of “men-

talism” so popular with modern-day audiences.

Pattering about the effect of colour on the mind . . you

show an artists Palette, on which is displayed five different
coloured Silks . . say Red, White, Blue, Yellow and Green.

Any member of the audience can volunteer to act as your assistant . . Defin-
itely no confederates ...
Holding the Palette in your hand outstretched towards him . . you turn your
head away and invite him to remove the silks one at atime . . in any order . . and
hide them in different parts of their person . . say, the first one in their right
jacket pocket . . the second in their left trouser pocket . . the third in their breast
pocket and so on . . OR . . if you prefer . . you may invite different members of
the audience to each take one. What I do want to emphasise at this point is, that
you cannot possibly see what they are doing. . but . . there is no question of you
having to take “sneaky glances” or anything like that . . in fact . . if desired, ,

you can be blindfolded.

Despite this, you can, without fail, call out exactly where each coloured silk is . .
a really stunning effect !

EASY TO DO (you can do itRIGHT AWAY), Entirely Self-contained.

Suitable for Drawing Room, Cabaret, Dinners or Platform.

Price S2/5/- postage 3/6. U.S.A. $9.00.

--

,a NOTE: In view of the fact that most magicians have the necessary 12 in.
silks . . we do NOT include them with the trick . . instead we supply colour-
ed Tissue Papers, which serve the purpose equally well . . But . . if you want
silks . . they are 2/6 each, extra.
 DOUBLE MILK
LEWIS GANSON

Full of surprises this clever routine ismagical

action from the word “go!”.

You first show a box . . Empty. Picking up a Jug

of Milk you “thoughtlessly” pour the liquid into the
box. Suddenly, realising what you have done,
you look worriedly inside. But, with a sigh
of relief you reach inside the box and produce a Glass of Milk! This is placed
on the palm of your hand and covered with a Cylinder. Lifting the cylinder it
is seen that theglass of milk has vanished!

However, reaching into box again, the “missing” glass of milk is reproduced!

Once more you place it on the palm of your hand, cover it with the cylinder
and it vanishes again!!!

To “top” it all, you reach into the box and once again take out the glass of
milk . . which, by the way,can be drunk (if you like the stuff) . . or used in sub-
sequent tricks !! !.

I f you don’t mind spending a bob ( 1 /-) for each performance . . you can drop
the final glass into a paper bag and immediately crush it for the final vanish!!!!!

-
e NOTE-If desired, the Box can be shown EMPTY . . ANY TIME through-
out the trick.

Many, many other effects are possible with the ingenious apparatus . . for
remember . . the “box” (size seven inches by five-and-a-half inches by four-and
-a-half inches) enables you to produce or vanish . . small articles, silks, glass of
liquid (this being done without the need for covers of any kind) . . a real utility
prop. While the “cylinder” vanishes two “glasses of milk” (or beer if you pre-
fer) .

Entirely Self-contained. EASY TO DO . . you can put this in your show

RIGHT AWAY. The various effects are SO clean-cut, it is perfect for the silent
as well as patter magician.

U.S.A. $10.00.
IC-‘

I
KEN BROOKE Volume 17. No 11. MARCH 1962 ’l
 MALlNl and his MAGIC
by DAI VERNON - Writtenby LEWIS GANSON
A wonderful record of the life . . tricks and methods of one of the most fabulous character in magical
history.Aman who withhis magic became friendand confidant of Royalty , . Presidentsand Big
business tycoons allover the world.
Nine Chapters - Malini the Man - Malini’s Full Evening Show - Malini’s Methods (description of
t h e working of his tricks) - Malini a t t h e B a r - M a h i a t t h e Dinner Table - BIalini and a Pack of
Cards - Miscellaneous Magic - Malini the Promoter - Malini and Edwin Dearns.
Dozens and dozens of Tricks and subterfuges used by him in Close-up and Stage performances. Many
Illustrations by Dennis Patten . . plus lots of interesting and Historic Photographs. Tricks include -
Silk Vanish - Colour Change Silk - Levitation - - Penetration and Vanish of a Tumbler - Blind-
fold Card Stab - Malini Egg Bag - Cut and Restored Ribbon - Bill, Lemon and Egg - Button Trick
- Production of Two Bowls of Water - Production of a Block of Ice - Vanishing Tobacco - Tricks
with Sugar - Bill in Cigarette - Cutting the Menu - Jarrow’s Cigarette Trick - Coin Fold -- Water
from Walking Stick - Coin Vanish -- Whisky and Water Transposition - Magnetic Cigarette Paper -
Production of a Glass of Beer - Coin Switch - Vanishing Whisky - Book Test - Billet and Tele-
phone Tricks - Matching Matches - Colour Change Cards - Card Vanish - Cards from the Mouth
- Siamese Aces - Card in H a t - Riffle Force - Peek Force - Side Slip -- Pack Vanish and many
others - Tricks t h a t baffled all the magicians - press men and public alike.
I would likeevery magician to buy this book . . for from thisgreat.feast of tricks,methodsand
stories-one should gain a wealth of knowledge and instruction, A Cloth Bound Book with Gold Letter-
ing and Dust Jacket.
Price -25/- U.S.A. - $4.00.
~.....
...._.................................... .....--.-
.............. -..-..-.--.-- ......-..-..----.-~---.-- .......................................................................
..________....._.___......~..~..~~
~

Cliff Green’s “ PROFESSIONAL CARD MAGIC ”

Here are real secrets of a professional card performer. All the routines, sleights and wrinkles that
have made Cliff Green one of magic’s great card experts. Many effects t h a t have been cherished pos-
sessions of only the inner circle of card experts. Ed. Mishell with Cliff Green posing, drew over 100
illustrations.Each effect has moves and ideasapplicable to all card magic. J u s t look over some of
the great card magic described for you t o perform.
New concepts on the Double Lift Topping the Pass .. ..
The 90% Perfect Change (including the
other 10%) ..
The Phoenix Aces-a fantastic visible production of four Aces.
Henry Christ’s Fabulous Ace Routin-a muchenvied romutine neverbefore published . Topping .
The Peek ..
The Evaporating Aces . . Flight of The Blues-the last word in cards across . Inter- .
locked Card Production-A Cliff Greeninovationincludingtheoriginalmethodandthebeautiful
Cotton-Sendax method ..
General Delivery Cards t o Pocket-the red cards go to one pocket and the
black to another .. .
Impromptu Cards Across . The Unfathomable Card Prediction.
A beautifully Printed and Cloth Bound Edition - Price 55/-

4
AN EVENING WITH CHARLIE MILLER
AT LAST, this lengendary American magician has been persuaded to write a book. As would be
expected ..
it is full of GOOD THINGS . Certainly NOT TO BE MISSED! .
111 Price - 21/-
“COIN MAGIC” by JeanHugard.A complete manual of Coin Conjuring.Tricks,Sleights, Rou-
tines,andPatter. 88 printedpages. - Price - 14/-.
“ SILKENSORCERY” by JeanHugard. 23 Tricks with Silks . , Sleights, flourishes,usefulacces-
soriesandPatter. 83 pages -Price - 14/-
“ THIMBLE MAGIC”. Routines . . TricksandSleights. - Price - 10/6.
“ T H E GAMBLING GHOST ” One of Fogel’s Top Secrets. A pseudo Spiritualistic
Seance which will baffle and entertain. The routine is very detailed and complete with Patter.
Price - 12/6. U.S.A. - $2.50.
“ KORNFIDENTIALLY YOURS ” by Karrell Fox. I.ots of “ Foxy Foolers” - Magi-Props. - Kard
Kornceptions - Korny Kwickies andFox’sFavourite-Features.Price - 14/-.

BOOKS - BOOKS - BOOKS

WE CARRY the LARGEST STOCKS of BOOKS of MAGIC IN THE COUNTRY.Beingourselves
the actual publishers of numerous books, we have special arrangements with other American, British
and Continental publishers to supply us with their books immediately on publication. W e also receive
a constant and regular supply to replenish our stocks. Therefore, providing the book is in print, we
can usually supply it from stock by return of post. Ollt of stock requirements can be speedily obtained.
Your orders will always receive our careful and prompt attention.
-
 HAVING SPENT COUNTLESS happy hours in the company
of our Front Page Personality, it is a most pleasant task to
write about him, but he is so well-known to the magical fratern-
ity that it is almost certain that it has all been written before.
However, there might just be someone, somewhere who has not
met Ken Brooke, so let’s introduce him.
lb’ell, he certainly looks like the photograph on the cover, but
it’s difficult t o keep him still long enough t o see him t h a t way
-you are more likely to know where he is a t a magical conven-
tion, or any other function where magicians forgather, by seeing
a crowd of people (the back ones standing on chairs) and hearing roars of laughter. If you are tough enough
to get near the front of the throng, then you are in for a magical treat, for you will see a non-stop performance
by the world’s finest magical demonstrator. With Ken Brooke, miracles begin before breakfast and continue far
into the night, for he keeps going for the sheer joy of performing magic and t o seehimin action is t o have
Eomething to remember.
Hailing from Yorkshire, Ken will tell you t h a t whilst aptitude and experience have been responsible for him
reaching the top, he owes a great debt to that likeable and clever magician Albert Verity, who was his mentor
in the early stages of his interest inmagic. H e will also tell you that the genius of Dai Vernan and Slydini
had a great influence in shaping his magical thinking later in his magical career. For Ken is a fine performer
’ because he is always willing to learn from other great men of magic, and because of this eagerness t o acquire
fresh knowledge, he is able to devise and display new magical routines.
Not only is Kensoughtafter by British magicians, buthe is also in greatdemandoverseas.American,
Dutch and Belgian magicians also love to have him with them at their Conventions, and he never fails to hit the
s t a r spot.
Ken has made severa.1 Television appearances and we hear that more are lined up for the future. We also
rememberwithpleasure t h e series of magical films ,heperformedin, which place on permanent record the
excellentmagic he exhibits. From now on Ken is t o ma,ke London his home and while t h e magical fraternity
“Up North” will miss his cheery personality, we know they will wish him well for the future.
During the day, visitors to the Unique Magic Studio will be able t o meet Ken Brooke and be privileged t o
watch him at work. Not only will he show them magic of t h e highest order, but he will TEACH magicians how
the tricks should be performed.
So it is with the greatest pleasure that we raise the Gen Glass t o one of the most likeable and kindly chaps
ever to grace the racks of the immortals of magic and we most certainly include Ken’s charming wife Madge,
and Michael and Andrew theirtwo sons. Here’sHealth,Happinessandstillgreater success fortheyears
ahead.

LEWIS GANSON.

CONTENTS - - - - - -
From the G% Desk - Lewis Ganson ...... 287 Wilhelm Tell - Wilfred Tyler ............ 300
in Reverse - Robert Hamilton ............ 288 Lucky Number Magic Square -
Mental Marvel - Douglas Francis ...... 291 Les Vincent ........................ 302
Lewis Ganson Explains -
Tom Sellers’ Card
Trio ............ “Tap-Tap’’
293 Cigarette
Switch
Chris {Gosselin
-
.................. 303
Universal Spelling Trick - Rink ...... 295
Red and
White Ropes - Rink ............ 298 Review - Harry Stanley . . . . . . . . . . . . . . . . . . 304

T H E GEN is published on the 10th of each month by HARRY STANLEY, 14, Frith Street, London, W.1. -
Single Copies : 2 / 6 : Twelve months
subscription 25/-. U.S.A. Single Copies 40 cents: Twelve months
subscription $4.00.
Editor : LEWIS GANSON. PATTEN.
DENNIS Editor: Art
@ HARRYSTANLEY 1962. Contributionsare only accepted on thetermsthatthecopyright belongs t o
Harry Stanley.

287
whenever it is desired to reverse a chosen
card, or the top card for any other purpose.
As with all tricks wherein a card is re-
versed, it is advisable to use cards with a
white margin on the back.
0 METHOD:
The packisplaced on the table face
down, andwith its long sides parallelto the
edge of the table nearest you.
Spread the cards towards you,, making
sure that the spread is fairly even.
Slip the four fingers of right hand under
the top card of the spread and commence
toturnthe cards face up. As you are
about to turn over the last six inches of
the spread, slide the lastcard face down on
to the table with your right thumb, Figure
1.
Turn the rest of the cards over onto this
card, then immediately slip right thumb
under this reversed card and scoop the
cards up, gathering them in the right hand.
The reversed card is now bottom card of
the face up pack ; of course, if you wish
to reverse the bottom card of a face down
pack, start with the pack face up.
288
The width of the right hand provides
plenty of cover for you to perform this
useful sleight.
Some pretext must be given for spread-
ing the cards butthat shouldn’t present
any difficulties.
‘Figure 1 shows last card being pushed
onto the table with right thumb.
BROKEN SPREAD REVERSE
This useful method for reversing a card
came about purely by accident and is per-
fectly natural in appearance.
Hold a break under a previously selected
card with the right thumb, right fingers at
front end of pack, thumb at rear. Spread
cards from left to right until the break is
reached, then make sure that at least half
of the last card isuncovered before spread-
ing remaining cards. Also ensurethat
about half-an-inch of the chosen card is
exposed-see Figure 2.
Now turn the spread face up by placing
left fingers under left end of spread and it
will be foundthatthe section “a** will
turn over, but “b” won’t because of the
extra spread. If all has gone well the last
cards of section ‘‘a”will cover first cards
of section “b”. Collect upthe face up
 L
cards butstealthefirst face down card
(chosen Card) beneath them,this card will
be hidden b y cards in lefthand. Now
turn over the face down cards, collect them
and place beneath those in the left hand.
Chosen card is face down in the centre of
face up pack.
REPEAT
REVERSAL
One of the most popular card tricks with
audiences is that in which a card, repeatedly
placed in thecentre of the pack, keeps
coming to the top-the “Ambitious Card”
as it is generally known. The routine
which I have devised is similar in that a
chosen card placed in the pack repeatedly
reverses itself.
The main fault with such routinesis that
unless the procedure is varied a little each
time, the audience are liable to become
boredwiththe whole thing-who can
blame them? I think that this routine, if
performed with good humour, will amuse
and intrigue an audience.
4 EFFECT AND METHOD:
Hand the pack to spectator, requesting
him to shuffle it. Take the cards from him
and explain to your audience that you can
“condition” a pack of cards so that it has
enough energy to perform some amazing
‘L
feats. You then proceed to condition”
the pack by riffle shuffling, springing them
from hand to hand a couple of times and
finally doing a couple of one-handed cuts.
“Now if the cards are correctly condition-
ed,” you say,“they should jumptomy
command . . . Jump!”. The bottom half
of the pack is made to shoot from the left
hand to the right, using the method as given
in “The Royal Road to Card Magic”, called
the self-cuttingdeck.
“They seem to be alright. To show
you just what the cards can do, would you
please select any card, sir.” Spreadthe
pack out on the table face down and let
spectator remove any card and remember
it.
Gather up the spread, ask spectator to
replace his card and control it to the top.
Hold pack backs towards audience and
289
command chosen card to rise. Make the
card at the rear of the pack rise, using the
method called Pop-up Card in “Royal Road
to Card Magic”. You know that this card
is not the chosen one, but turn it face to-
wards spectator and place on top of face
down pack (thus onto chosen card). Hold
a break under the top two cards as you
meekly enquirewhether or not it is the
chosen card. On receiving a negative
reply, lifttop two cards as one in right
hand and turn cards in left hand face up,
asking is it the bottom card. “No.” Drop
the two cards from right hand onto face of
pack, cut these two cards to centre (chosen
card now reversed in centre) ask if the
card now showing is his. “No.” Look
despondent, then command card to really
tryand reveal itself. Spread pack face
up onthe table to reveal reversed card,
ask spectator to name his card and then to
remove the reversed card and show it to
the audience.
Gather up the spread, hold cards in left
hand, take card from spectator and place it
in the pack as for the Centre Reverse des-
cribed previously. Explain thatthe cards
usually do exactly as you tell them, com-
plete the centre reverse as you talk by cas-
‘L
ually cutting cards. Ask” for permission
to try again and subsequently show card
reversed in face down pack. The manner
of showing the card reversed is important.
Spread thecards between the hands until
reversed card is reached, then take all cards
above thereversed card into theright hand.
The face up card is left on top of cards in
left hand.
Now perform Ed. Marlo’s Tip-over
4‘
Change”, adding a card from bottom of
right hand packet to cards in left hand as
spectator’s card is turned face down.
Push top card from left hand packet onto
the table, apparently spectator’s card, and
add left hand cards to those in right hand.
Spectator’s card is now on topof face down
pack.
“Let me show you just how muchenergy
.I
the card possesses. So saying, you spread
290
the pack face down as for the Spread Re-
verse and pick up the card, keeping it face
down for obvious reasons, place it in the
centre of the spread in line with the other
cards. “ A s you can see all the cards are
6‘
face down, yours included,” you say, now
if I turn thecards face up, yours is also face
up.” Complete the Spread Reverse as
you turn over the spread, and immediately
gather up the cards. Cut the pack taking
spectator’s card, now reversed, to centre.
Command the card to turn over, stress the
point that it was placed face down in the
face down pack ; fan the cards to expose
spectator’s card and remove it. Perform
the Hofsinzer Top Change and place in-
different card face down on table.
“Perhaps you’re thinking that only I can
order the card to reverse. Would you
like to try?”
“Yes.”
Riffle shuffle the cards retaining spect-
ator’s card on top, saying that you are just
freshening them up. Tell spectator to cut
the pack and you take the top half as you
demonstrate how to spread the cards.
Spread your half, then gather it up as you
watch spectator spread hiscards. Then
tell him to place his card face down in the
centre of his spread.
Meanwhile, you have secretly reversed
his actual card on the top of your cards,
using another method of reversing, such as
against your thigh. In any event, his card
is now face up on top of the face down
cards. Tell him to collect the cards to-
gether and cut the packet. You turn your
cards face up, taking care not toexpose the
reversed card, and cut them, turn them face
down. Tell spectator to cut his cards
again, this time place your cards inbetween
his cut.
Recap on what has been done; specta-
tor has placed his card( ? ) face down in a
face down pack, give him the cards to hold
and tell him to command the card to re-
verse. He does so and you tell him to
spread the cards, whereupon hiscardis
staring him in the face. Climax.
 MAKE YOURSELF A Cleaning Pad with a strong magnet
inside (the illustration will give you the idea) . . also
an imitation “X” with a metal core. Take a piece of chalk
.‘
and around one end put some Selotape (Scotch). This en-
ables you to write” with it on a slate . . it will make the
“noise” of writing, but it will not make a mark. Now, with
the addition of an ordinary Slate, you are
ready to perform a very ingenious and
subtle effect.

a THE METHOD AND HANDLING:

If you place the “ X ’ on the side of the
slate, facing you and the pad on the other
side, it will“hold” the “X” at any spot
you desire . . and you can display the slate
without fear of the “X” falling off. At
short distance the “ X ” looks exactly like
the “real thing” . . . Bytheway,you
should makesurethatthe “ X ’ iswell
covered with chalk before every perform-
ance.

With regard to the “Handling” of the

Pad and “X” . . there are two suggestions
that we make . .

1 . If you place the “X” at the top left

hand corner of the slate and the pad (on
the other side) lower down . . then tilt the
slate almost upright . . the “X” will slide
down and stop at the position you have
placed the pad (on the other,side) . Also
take note of the way in which the magnet
“attracts” the “X”. Holding it one way,
may make the “X” lie horizontally . . the
other way, vertically, which is of course, 2. Place the “X” halfway up the slate
the way you want it . . the normal-looking (the pad is placed behind it on the other
way. side).
When necessary the left hand

29 1
 (holding the pad) slides up or down, asre- brought the gimmick into action in a per-
quired . . the “X” will follow the “magnetic fectly natural manner.
force”. Due to the fact that you had the
“X” in position at aboutthecentre,the You now pretend to makeanother cross
slight movement required, up ordown, . . actuallyyou write nothing . . for this
is momentary, and completely covered by time you reverse the chalk and “write”
the almost simultaneous action of slightly with the end. However, the audience
lowering and turning the slate, as you step hearing the “sound” of writing is not sus-
forward to reveal what is written. picious.
Throw chalk aside, and state that“what
PREPARATION: is written, is written” and that you cannot
do anything further about i t . . therefore, it
Have the Slate on the table . . the “ X ’ is quite “safe” for your helper to call out
on the lower left hand corner . . Pad and aloud their “thought”. As they do so . .
chalk ready to hand. do your stuff with the pad and “X” . . so
that when you finally turn theslate around
WORKING: to show the“X”, it is in its proper position
against the selected item!
Pick up the slate with thelefthand,
thumb on top (concealing the “X”). It is This is a most straight-forward way of
a good idea to have the corner hanging handling and once understood and master-
over the edge of the table, so that you can ed, you will doubtIess find other little in-
pick the slate up easily. dividual touches and subterfuges, to suit
yourself.
Display the slate on both
sides.
Have members of the audience call out Remember - every move as outlined is
the desired words, sums of money, num- NATURAL . . what could be fairer . . or
bers, names of film stars, famous person- simpler !
alities, race horses, cities, anything in fact,By the way, the thought occurs that you
that fits in with your particular present- may not fancy pretending to “write” you1
ation. “X” in full view of the audience . . in which
Four or five items will be sufficient . . case, there is no reason why you should not
write them boldly in chalk onthe slate turn your back to the audience while you
(don’t forget to leave room for the “X” do this. Write with the “dud” side, throw
you will “write” in later). Display the the chalk over your shoulder with a dramat-
items and then ask any person in the ic gesture, making it obvious that you have
audience to think of ONE of them.. make finished writing and will do no more. They
sure everybody realises that they are not have “heard the writing”, so they should be
confederates. perfectly happy about it.

Turn the writing toyourself . . move the
left hand up the slate (and in doing so you
slide the “X” upaswell).
Now adopt
66
your best mentalist manner”making “
a are a MENTAL MARVEL!
great show of “concentration”, hesitan-
cy” etc. Make a cross on the slate . . look
at it . . shake your head as though you have
made a mistake . . then take up the PAD
The person calls out his “thought” . . re-
cap what has happened and while doing so,
L.
do your dirty work” and prove that you
If you want to use the slate for subse-
quent effect (not a bad idea this), use the
pad to clean off the writing, and using the
4‘

and rub it out. Now pass the pad to your magnetic side” it’s quite an easy job to
left hand, which holds it beneath the slate pick up the “X” on the pad, and it leaves
ontheleft side. In this way you have you as clean as a whistle!

292
 I TOM SELLERS’

THE LATE Tom Sellers had the knack of devising exceed-

ingly novel magical effects which were thoroughly
practical and simple to perform. Usually he provided just an
explanation of the basic method and left the reader to work
out a routine forhimself. This practice had a lot to commend
it, for it ensured that each individual added something of his
own and in consequence no two routines
were exactly alike.

The three card effects we are describing

this month consist of novel ways for reveal-
ing
which
cards have been thought of,
touched, named, taken or otherwise select-
Q Q
ed in any way that magicians use to make
an unsuspecting spectator do his bidding.

1. DUAL
CARD
DISCOVERY.
+ EFFECT:
After having two cards selected, then re-
turned to the pack, the performer-lifts off
half the cards, when immediately two cards
spring up one at each end of the pack, they
prove to be the two selected cards.
+ METHOD:
After having two cards selected, noted,
then returned to the pack, bring them to
the top. False shuffle, then cut the pack,
holding a break above the two selected
cards with the tip of the right thumb.
With the tip of the thumb, lift up the
two selected cards and draw them towards
you for about an inch with the top half of
the pack . Allow the under card to drop
onto the lower half of the pack, then slide
thetop half (and the lower card)away
from you till it extends about oneinch over
the other end of the pack. Bring the top
halfof the pack back again till it comes
flush with the lower half. The two cards
are nowprotruding from the pack as shown
in Figure 1.
Extend the right forefinger and thumb
and pull down on thetwo projecting cards
till they are bent against the ends of the
top half of the pack. Now lift off the top
half andthe two cards will spring up
straight, as shown in Figure 2.

293
 To obtain the best effect, all the moves
should blend together and be performed
fairly quickly.
2. DROP RISE.
Here is a rising card effectwhich is differ-
ent to the usual run. After the magician
has had three cards freely selected and
returnedtothe pack, he holds the pack
above a glass fronted houlette, then allows
the cards to fall from his hand. Instantly
the three cards pop into view at different
heights and at intervals. throughout the
pack as in Figure 1.
1) REQUIREMENTS:
(A) You need a glass fronted houlette
to hold a pack of cards loosely as in Figure
1 . This houlette has a flat piece of cellu-
loidfixed tothecentre of the back, the
D
294
shape and size of this being shown in
Figure 3. In determining the sizes it has
been assumed that the pack is three-
quarters of an inch thick.
(B) Two identical looking packs of
cards, but one of the packs is faked by
4
cutting a inch slot in each card with the
exception of the top and bottom cards.
This slot runs to within a 3 inch of the top
edge (Figure 2). Theother packis un-
prepared.
v METHOD:
The packs have to be switched and as
there are several methods for doing this,
we will leave the reader to select the one
which suits him best.
Introduce the unprepared pack, have it
shuffled then have three cards selected, re-
ceive back the pack and switch it for the
prepared one.
Have thecards returned to the fakepack,
the firstcard within ten cards from the
top, the second card at about the centre,
and the third card within ten cards from
the bottom.
Hold the pack in your right hand above
the houlette, remove the rear card, place it
in the houlette so the spectators can see it
through the glass, then remove it and
placeit onthefront of the pack. Let
the pack drop into the houlette, when the
three selected cards will pop up into view.
Remove the pack, then hold it face up
and allow each helper to remove his card.
3. PICTUREFRAMECARD.
For this effect the magician shows a
piece of glass which he slips between two
grooved uprights. This is momentarily
covered with a handkerchief which when
removed reveals that a card or picture is
now behind the glass.
+ CONSTRUCTION:
Figure 1 shows the general appearance
of the frame. Figure 2 is a side view.
To the centre of a base-board is fixedan
oblongblock of wood. To each side of
this block there is a grooved upright. Be-
hind the uprights, after a space of about
one-eighth of an inchis the back of the
frame whichisfixed tothe base of the
block. This back should be painted black.
Make a black silk bag to fit over the back
board.

+ PREPARATION:
Stick your card or picture to the back
board, then slip the silk bag over it. Place
the glass between the uprights.

+ METHOD:
Remove theglass, displayit, thenreplace
it between the uprights. Cover the frame
with a handkerchief. Vanish a selected
card or picture, then under cover of the
handkerchief, remove the silk bag by pinch-
ing it through the cloth. This brings the
card or picture to view behind the glass.

UNIVERSAL
SPELLING
TRICK - BY RINK OF HOLLAND

1AM USING this title, as this trick can pear. Even during the spelling, the spec-
be used in any circumstance, per- tator may change his mind and raise the
formed in any language, with any card, number.
name or number.
0 Description of the sleight:
After the initial moves, which are very
simple, the performer is able to show the We will presume, that the card should
desired card (chosen by spectator) at any appear at number 1 2. After a card has
number in the pack, provided it is five or been chosen, noted and returned to the
more.Mostspellingtricks have a limita- pack, the performer brings this card to a
tion, this one hasn’t, except that the num- position second from the top of the face-
ber must be five or more, or the name more down pack, which is held in the left hand.
than five letters. Only at the last moment Most magicians will
have his pet method of
doesthe spectator reveal thename or doing this. However, here is the simple
number at which the chosen card must ap- method, which I use myself:
295
 Bring the card to the top by any method back, turned face up and deposited on the
you like and shuffle it to the bottom of the former counting “three”. This counting
pack. Now shuffle the pack face up, with goes on in the same way, once in a while
the faces away from the audience, so that the fingers of the right hand linger on after
they can’t get a glimpse of the chosen card
at the bottom. When starting this shuffle,
instead of the first card only, slide off the
bottom and top cards at the same time and
shuffle the rest of the pack on the top of
these two. Turn the pack face downin
the left hand. The chosencardis now
second from the top.

the counting of a card at the spectators’

side of the face up cards, so as to imitate
the action of squaring thecards at that end.
It is only a furtive movement, but it has a
reason, as later the same fingers will push
a card back. This will become clear later.

The pack is held in the left hand as in

Figure l . However, all the cards are face
down (Figure 1 is actually a later stage in
thetrick). You willsee. thattheleft
thumb is at the side of the pack in position
for riffling the edge. The left thumb al-
lows the two top -cards to spring away by
riff ling, and holds a break at theside. This
is the moment at which performer asks at
what number thecard shall appear-in our
example number 1 2.

The top card is turned face up over the

second card, but the break below the second
card is still held. The two cards, held as About the sixth or seventh card is not
one, are movedforward for about half the put directly over the other face up cards,
pack. The left first finger has moved but a little further back, as in Figure 3
under these cards (Figure 2 ) . At this (Queen of Hearts).The reason for this
6‘
moment -the performer counts one”. will also be clear later. The next card is
,

Performer now slides the next face down put unevenly on these two cardswhich
card out at the back of the pack, turns the gives the impression that the cards are put
card face up and deposits it on the other down haphazardly.
.I
face down card, counting, two”. The
same thing happens with thenext face When the ninth card is put down, the
down card, which is also slid out at the fingers of the right hand again linger at the

296
front of the face up cards and now push
back the bottom card for about half an inch.
This happens under cover of the injogged
Queen of Hearts. If you should turn the
pack round at this moment, you see a view
from underneath of Figure 4,and see the
card which was just pushed in as an injog-
ged card. In Figure 4 a mistake occurred;
the injogged card in the view from under-
neath should showits face, as it is the
chosen card.
0 A 100% MAGICAL
SERVICE
FOR
HARRY STANLEY
.- 3 minutes from Piccadilly . . Leicester
Telephone
Callers please Note - Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday - 9 a.m. to 4 p.m.
The nail of the first fingerof the left hand
engages the end of this card, as you can
see in the same bottom view. The situa-
tion at the moment is made clearer by a
side view as in Figure 5 . In thesame
photograph you can also see at what angle
the pack is held, while the counting is going
on.Thetenth card is counted, butas
soon as it is turned face up it is slid over
the pack, from the back to the front of the
pack until it arrives inplace. The same
happens with the eleventh card, but while
this card is slid over the pack to the front,
the first finger of the left hand pushes back
the card engaged with the nail, back to a
position over the still face down cards.
The chosen card is now in position to be
counted as the twelfth card. Figure 6 is
the position at the moment when the card
has been pushed into his counting position
(bottom
view). Dramatically produce
the chosen card as you count “twelve”.
The whole count must be done rather
slowly and deliberately.
YOU !
14, FRITH STREET, LONDON, W.l.
Square or Tottenham Court Rod, Tube Statioo . -
- GERrard 5409
297
 THIS TRICK DEPENDS on the faultless execu-
tion of the making of a false knot. This
knot shall be described before the trick.

A. The false knot:

The left hand is held in the position of
Figure 1 , with the back of the hand towards
the audience. A rope AB is hung over the
firstfinger. The end A is brought over
the hand so that a loop is formed and the
situation of Figure 1 is reached. The right
hand is brought through the loop from per-
former's side, grasps end B and pulls it
back through the loop. The result can be
seen in Figure 2. The right thumb moves
down somewhat and covers the crossing
in the rope. The loop is then slipped from
the fingers and at the same time the right
hand pulls on end B. The situation in the
rope is now as in Figure 3a. As the thumb
covers the crossing at the cross in Figure
3a, this looks like a genuine knot in the
rope.
While the right hand continues to pull
on B, the tip of the left thumbpresses that
part of A which lies on the topof the small
loop, through the loop. While the knot is
pulled tight, the small bight is caught in
the loop and the false knot has materialised. as in Figure 8, the result would be Figure
The peculiarity of this knot is, that when
the right hand holds the knot, the knot is
pulled tighter, when pulling on end B and
is upset when pulling on end A.
The great advantage of this method of
making a false knot is that it looks perfect- rope
ly natural, which can't be said of all the
other different methods of making a false
knot.
So far the false knot. Now for adapting
the knot to the trick .
B. The Trick:
1. Two pieces of rope each about three
to four feet in length, are used. One rope
is white, the other one is red.
The white rope is doubled and held in
the hand as in Figure 4. The false knot
is now made in both ends, look at Figures
4, 5 , 6, 7 and 7a. The false knot is made
in both ends at the same time.
Figure 9 is the result. If the ends D and
E should now be pulled in opposite direc-
tions (see arrows in Figure 9), the knot
would be upset.
Note: Should the doubled rope be held
10, in which the knot would be upset, by
pulling the ends A and B in opposite direc-
tions.
2. The red rope is now pulled through
the loop of the white rope andthe red
is now held in the left hand exactly
as the white rope was hanging in Figure 4,

298
 1 2
t L
5 6
A 5
11 '
IO
2s:
D C
D ~~
I
except that the white rope is hanging in
the bight of the red rope.
3 . The same false knot is made in the
twoends of the red rope. When this is
done, the two ends A and B of the white
rope are taken in the right hand and the
red rope is released. (Figure 1 1 .)
4. D and E of the red rope are brought
up tothe left handand theropes are shown
as in Figure 12. The right hand now grips
the ropes at the cross in Figure 12 and the
fourendsare released by the left hand.
(Figure I 3.).
3 4
7 8
1
5. The ropesarenow shown tothe
audience in both handsasinFigure 14.
and theyareseento be linked together
as two links of a chain.
6. The ropethat is held bythe right
hand is dropped and the left hand brings
the ropes behind the back. The right
hand also goes behind the back and grasps
the red loop. Both hands now pull sharp-
ly apart in opposite directions. Both
knots collapse a t the same time and each
hand brings a rope to the front,each with-
out a knot. The ropes have not been out
of sight for more than a second.
299
 WILHELM T E L L
Written with unasked permission of
Cioachinno Rossini.

BY WILFRED TYLER

1 HAVE SEVERAL note books with

ideas I have ‘‘ Thunked up” from
~~~~~ ~

time to time and sundry folders in which

are sketches, letters from magician pals,
giving suggestions and various routines and
Mss sent to me over the years. Browsing Mr. Billy will you be so kind to lend me
through one of these folders recently, I a pound. Thank you. This billwill play
came across a most amusing Mss whichwas a big part in this scene, in fact money al-
submitted to me by one Gioachinno Rossini ways plays a leading part in human life.
I am having it printed just as he wrote it,qs Mr. Tell, will you please write down the
although you may well wantto alter it number of the bill on this slate. Thank
here and there it is better to reproduce it you too, Sir. Perhaps you knowfrom
in Rossini’s own phraseology. He your schooltime, that Mr. Tell was a man
calls it “ Wilhelm Tell”. who didn’t like money. He was only fool-
ishly fond of apples. Money was always
destroyed by him. Therefore we put this
PATTER and PRESENTATION: bill in the envelope and burn the whole
thing.
Ladies and Gentlemen ‘1have the special
honour to present you an attraction in Well, Mr.Billy, if you listen you can
the form of one of the most famous acts of hear your money talk. It says “goodbye”
the Opera Wilhelm Tell. I hope you will to you. Perhapsit is now time tostart
understand that it is impossible for me to our scene. You know of course the scene,
play this scene alone, therefore I shall be shooting an apple from the head of his son?
pleased if one of you will assist me. Please You remember, Mr. Tell, have you ever
Sir, will you be so kind to come up to the shot at apples? Never . ..then I hope you
stage. Thank you. don’t miss this time. Mr.Billywill you
take an apple from this board. This one?
You play the character of theson of well, stand quiet now and I can put the
Wilhelm Tell. His son, was ordinary call- apple on your head. And you Mr. Tell,
ed Billy. Now we have to look for a good get this dart from me, it comes from the
father for you. Ah, you Sir, will you original Mr. Tell himself, so be careful with
please enter the lists. From now on, you it. Do you think you can hit the apple?
are Wilhelm Tell. Ladies and Gentlemen You don’t know! Mr.Billy,aconfiden-
may I now introduce to you Mr. Wilhelm tial question,do you have an insurance
Tell and his famous son Billy. A very policy for personal accidents, you have not!
hearty applause for these sharpshooting Is there an insurance man in the audience?
duo. Thank you. then I have a client for him!

300
 Mr.Billy, the only wayto save you other bills are rolled as small as possible
from damage is toputa pail over your and put in the apples. At the bottom of
head, but I think you don’t like that. It’s the apple, where the pip is, you prick with
a pity but we shall have to drop the scene. a nail in the pip to the inside of the apple,
or there must be another solution. In fact remove the nail and put the rolled bill in
Mr.Billyfinanced this scene. Perhapd I this.
have got an idea. Mr. Billy will you put
the apple back on the board, Mr. Tell do Further on you need a board, with holes
you think you will be able to hit one of in which the apples rest. Behind the board
the apples on this board. Yes! but that’s are put some unprepared apples.
fine, then we go on with our act. Will
you throw, at the count of three, the dart At your table lies a dart, a slate, a piece
in one of the apples on the board. of chalk and a knife. When you get the
bill from Mr.Billy, you switch it for the
One, two, three! ah, that’s splendid, you folded bill, whichyou have in your pocket.
hit and hurt one of the apples. Mr. Billy
will you get that apple that is hurt. Here The bill which is put in the envelope is
you have a knife and cut it in two, let’s really burned. Every performance costs
see what’s in the apple. No, it is nota you one bill, but the success pays for it.
worm! it’s a bill, perhaps it’s yours. Will
you read the number and call it aloud. It I think the rest of the manipulations will
is correct. Mr. Tell, I thank you for your now beclear to you. Only one thing,
fine demonstration of sharp-shooting and when the bill comes out of the apple and
Mr. Billy may I thank you for your acting you have to give it back to Mr. Billy at the
as theSon of Mr.Billy Tell. Herewe end of the performance, give him another
have for you both an apple for a rainy day. bill, as you say this bill is too wet to put
in your pocket, but really that he cannot
The explanation for this new presenta- see, that the serial number was prepared.
tion of the well-known citron trick follows The apples from behind the board are given
now. as a present.

You need ten bills and fifteen apples.
The bills must have serial numbers which
follow up. With
a razor-blade, you
scratch carefully away the figure which is
most right of the serial number. You get
now a number of bills which have all the
same serial number. Oneof these bills
you fold in four and place it aside. The
Take for the son an old man and for the
fatherayoungman, this gives a comic
situation.
Note-I cannot see our readers using ten
bob or pound notes instead of “bills”, but
as an alternative one could purchase ten
sixpenny Postal Orders.

THE LINKING
~~ RING
apply for membership in the 1.B.M
A magic monthly magazine exclusiv- to
ely for members of the International Write for detailsandapplication t o m to :-
Brotherhood of Magicians. Publish- INTERNATIONAL BROTHERHOOD OF
ed continuously since 1923. Averages MAGICIANS H.Q.-Kenton,Ohio, U.S.A.
140 pages, illustrated, each month. or W. G. STICKLAND, “ T h e Wand”,
You do not have to belong to a Ring Dudsbury Crescent, Ferndown, Dorset.
 LUCKYNUMBERMAGICSQUARE
Retold by LES. VINCENT

M A N Y YEARS AGO I used to call at Perhaps someone would like toknow

least once a year at Solent Road. what their lucky number is, suggests the
West Hampstead to see that grand patri- performer. A date is given. Whatever
arch of magic, thelate EllisStanyon. It date is named theperformer writes it down
wasduringone of these visits that Mr. at the head of a slip of paper, and draws a
Stanyon showed me the following magic three by three square.
square, and during thirty years in magic I
have never seen it in print. If it has been So that you can follow the routine clearly
published then I am sure that it was so I will use my own birth date:- 4/1 1 / l 2
long ago that its reprinting will be of in- as anexample.
terest to the younger readers of this valu-
able magazine. First of all, add the three figures together
and place the total in the centre square
First of all the performer brings up the (4 plus 1 1 plus 12 equals 27). (Figure 1 .)
subject on numbers and remarks that we
all possess a lucky number from the day
we are born. This number can be revealed Nowadd thedate (4) to this centre
by taking the date, month and year of birth number (27) and write the result ( 3 1 ) in
and forming a magic square with the aid the top left hand corner (Figure 2 ) .
of the figures given.
Having done that, add the month ( 1 l )
to the centre number (27) and jot it down
in the top right hand corner (38) (Figure
3).
- _ - 31 - - 31 - 38
-- 27 - - 27 - - 27 - Follow this up by adding both the date
--- --- - - - and month to the figure in centre square
Figure l Figure 2 Figure 3 (4 plus 1 1 plus 27 equals 42), placing the
total in bottom row, middle square (Figure
31 - 38 31 12 38 31
12 38 4).
- 27 - - 27 - - 27 -
- 42- - 42 - 16 42 -
Figure 4 Figure 5 Figure 6
You now put theyear ( 12) in the middle
square on the top row (Figure 5 ) .
31
12 38 31
12 38 31
12 38
- 27 20 - 27 20 34 27 20 To the year ( 12) add the date (4) and
16 42 - 16 42 23 16 4223 write the result ( 16) in the bottom left
Figure 7 Figure 8 Figure 9 hand corner (Figure 6 ) .

302
 To this total ( 1 6) add the date (4) and Finally, add the month ( l l ) to the last
mark thesum of this addition (20) as total (23) and put the result (34) in the
shewn in Figure 7. last remaining square (Figure 9).

For the vacant square on the right, take Totalany row across, downwards or
the year ( 12) and add it to the month( 1 1 ) even the diagonals and you will always get
and jot its total (23) intosame(Figure the same total. In this case the lucky
8). number for me is 8 1 ?

“ TAP-TAP” CIGARETTE SWITCH - BY CH” COSSEL’N

SOMETIMES A MOVE seems so very allow it to be pushed into the hand so it

simple that one uses it for a whilelies almost parallel to the duplicate. As it
without thinking of publishing it until an- disappears, curl the tip of the thumb over
other magi says “You idiot, why don’tyou its tip and allow the duplicate to slide out
publish a gem like that?”.This is my for half its length, retaining theposition by
only reason for submitting it. Itis for aan inward pressureof the first and third fin-
close-up cigarette switch for the card-to- gers. Turn thehandupwardsandinsert
cigarette or note-to-cigarette effect. I use the end in themouth.Asyourhand
a filter tip nowadays because I get this moves away to take the matches from your
offered 99% of the time. The only time I pocket, and to secretly leave the borrowed
was offered a plain one I just said, “Gosh, cigarette there,there is generally a few cries
here’s a brave man notworried about doc- of, ‘‘ You’ve got the tipped end outwards!”
tor’s reports-anyone got a filter tip?”. In or words tothat effect. Hurrriedly turn
close-up, people arenearenoughnot tothe cigarette round with the other hand,
make a delay in the subsequent offering bring out your matches and light it. The
of a tipped fag. misdirection removes attention to your put-
tingyourhandinyour pocket till the
Hold your duplicate in whichever hand matches are coming out, and the look at
you normally take a cigarette, in a finger- both ends of the cigarette allays any sus-
palm position with the
untipped
end picions they might be going to have Iater
againsttheinner fleshy part of thetop (if you see what I mean), about the possi-
joint of the middle finger and the tipped bility that you had tamperedwiththe
end just below the root of the same finger. cigarette that they offered. With the cig-
Take the cigarette proffered between the arette lit, you have only to force the card
tips of the first finger and thumb, exactly and you’re away. And no hollow laughter
as you would take any cigarette. Tap the aboutthe last sentence. 1 usea force
cigarette on thetable but in successive taps pack too!

+ Subscribe to
” Hugards MAGIC Monthly.”
HERE’S
MARVKLLOUS MAGIC - CLEAR - PRACTICAL - ENTERTAINING
Now in its 19th year of publication. Subscription $5.00 pa year.
2634, East 19th Street, Brooklyn 35, New York, United States of Amenica.
We can accept subscriptions for this fine Magazine a t Unique Magic Studio, 14 Frith Street, London, W.l.
- 35/- per year. -

303
 BLACKPOOL
CLUB (nee Circle)
gave 600 magicians and friends a grand
day at the Annual One Day Convention.
Despite Ken and I not arriving until nearly
midnight, the local boys saw to it that we
and our heavy baggage was met andtrans-
ported. This consideration to dealers, plus
the allocation of proper times for demon-
strations and sales, resulted in both dealers
and conventioneers being highly delighted.
The Committee of the “ British Ring”
could well take a lesson from this!
THE
BIGGEST
CROWDS
were around Unique . . where Ken was in
devastating form. Our new “ Light-
weight Rings” were a fantastic success and
“ MultiplyingBottles” generally spoken
of as the “Trick of theYear” .. “Coins
thru a Spectator’s Hand” proved a knock-
out . . . yet it’s so EASY todo!Other
big sellers were “Triple Milk Vanish” ...
“Kuller Vision” . . . Marconick’s “Trouble
Free Billiard Balls” . . . Ken’s “Coins thru
Table” ... “Shorties” . . . and Koran’s . . .
“Extra Sensory Plus”which sold like billy-
ho because of Ken’s new stuntwith it (see
later note). It’s an idea that can be
worked with many other tricks .-. let him
tell you what happened . . .
KEN SEZ . . .
Spectator . . thinking of a design (or card)
which, of course, unbeknown to them you
already know the name of . . is asked to
look into a hat andimagine that they see a
picture of their thoughts therein. Next,
they single outanotherperson, of their
own choice and the hat was carried care-
fully over to them with the request that
they “concentrate”, then name the design
(or card) . . which they did, successfully!
It knocked the boys for a loop . . they all
304
thought I was using stooges . . they were
right, but not in the waythey thought! It’s
a simple idea, but it WORKS and it
makes a sort of two-person mental stunt
without a moment’s practice!
Under cover of lifting the hat in line with
their eyes . . I simply whispered “tell them
its a Triangle” (or whatever it happens to
be). This doesn’t “read well” in print . .
but try it out . . believe me it fooled the
boys time and time again! ! Whilst writ-
ing these few words . . I‘d like to express
my thanks to all who sent good wishes to
myself and family now that we have mov-
ed to London. Hope we’ll be seeing you
in theStudio or at the conventions . . I
promise you a few surprises.
NOW
KEN IS IN TOWN
we are responding to many requests from
magicians in outlying districts to have a
LATE NIGHT IN THE STUDIO
In future . . on THURSDAY NIGHTS we
will be OPEN until NINE o’clock. Other
nights it’s 6 p.m. closing, except Saturday
when it is 3 p.m. for the time being . . it
will be later in a month or so’s time.
I DON’T THINK I EXAGGERATE
when I say that in Ken and I . . we have a
‘6
dealer-team” whichis a combination of
skill and experience . . unequalled in the
world. We havea tremendous range of
first-class magic and books . . our studio is
private and comfortable . . I guarantee that
every visit will be a pleasure. If you can-
not get in personally . . Ken is seeing to it
that POSTAL SERVICE will be first-class
. . so let’s see or hear from vou.
all the best,
HARRY.
 A GREAT BLACKPOOL SELLER !

KULLER V I S I O N
A Palatable Mystery by
BILLY DAY

Hereis a colourful mystery with thattouch of “men-

talism’’ so popular with modern-day audiences.

Pattering about the effect of colour on the mind . . you

show an artists Palette, on which is displayed five different
coloured Silks . . say Red, White, Blue, Yellow and Green.

Any member of the audience can volunteer to act as your assistant . . Defin-
itely no confederates . ..
Holding the Palette in your hand outstretched towards him . . you turn your
head away andinvite him to remove the silks one at a time . .in anyorder . . and
hide them in different parts of their person . . say, the first one in their right
jacket pocket . . the second in their left trouser pocket . . the third in their breast
pocket and so on . . OR . . if you prefer . . you may invite different members of
the audience to each take one. What I do want to emphasise at this point is, that
you cannot possibly see what they are doing . . but . . there is no question of you
having to take “sneaky glances” or anything like that . . in fact . . if desired,
you can be blindfolded.

Despite this, you can, without fail, call out exactly where each coloured silk is. .
a really stunning effect !

EASY TO DO (you can do it RIGHT AWAY), Entirely Self-contained.

Suitable for Drawing Room, Cabaret, Dinners or Platform.

Price f2/5/- postage 3/6. U.S.A. $9.00.

0 NOTE: In view of the fact that most magicians have the necessary 12 in.
silks . . we doNOT include them with the trick . . instead we supply colour-
ed Tissue Papers, which serve the purpose equally well . . But . . if you want
silks . . they are 2/6 each, extra.

305
 A SURE-FIRE device that enablesyou to create .. at anytime .
.a
FLASH at your finger-tipsetc. Ken has used it with great successover
thepastfewyears,andalsosome of ourfinestpro’s.including Claude
Chandler, when playing his famous role of “ Abanazer” . . John Calvert and
Du-Lay . . they can tell you it is 100% practical and effective.
Non-electrical and cheap to run . . No elements t o re-place.
We supply i t so t h a t i t can be used in different ways, with a “pull” so
that the hands can be shown “free” as soon as the flash has taken place.
The “pull” can be easily detached so that the gadget can befixed to appara-
tus, or used as a “finger-gimmick”. You can use it several times in any
act. As a gadget, i t i s well worth the price, a good flash adds to any effect
and you will find dozens of uses for it.
IN ADDITION - we send you full instructions, plus twoterrificgags
which have brought Ken many, many laughs . . Complete and ready to work
right away.

Price 15/- postage 9d. U.S.A. $3.00.

Here’s an effect that will set fire to a train of thought S

Thementalisthas a spectatorinitialandexamine a piece of
paper. On the paper the spectator writes a number, name, place
mything he desires. So that the paper will be infull view and,
incidentally, so i t won’t burn his fingers, i t i s held by a pair of
tweezersandsetafireuntil i ti s completely consumed ! The
mentalist takes a pad or a piece of paper and proceeds t o duplicate
the name, number or place, t h a t was thought of by the spectator.
A terrific method of secretly getting information. No impression
gimmicks of any kind, any paper can be used.
A sensational new gimmickdoes it for you. Ask t h e boys who
sawJim’slecture,theyallwanted one. Greatfor book tests,
close up work, anymental effect.
Price 7/6 postage 6d. U.S.A. $1.50.

ALAN
ALAN’S
TOM THUMB SWORD BOX
A Classic Illusion that can be carried in the Pocket!
The Tom l‘humb SwordBox is a miniature versionof t h e famous Sword
Cabinet. In place of a girl assistant, the victim is your thumb or finger,
through which you push Fifteen Sharp Swords!
The action takes place inside a beautiful red and black perspex sword
box (size approx. 2 ins. square), made to fit on the thumb. When the
thumb has been penetrated from all directions the cabinetis turned show-
ing the audience the inside, and to their amazement they see a mass of
swords. Butthe thumb has disappeared. T w o impacts in oneeffect!
Absolutely safe and easy to perform ; ideal for close-up performam&
the nearer the better! A glistening perspex cabinet complete with fifteen
swords and full instructions. A Quality Product.

Price - Sl/l/- postage 1/6

306
 a ANOTHER BLACKPOOL WINNER!

TROUBLEFREEPRODUCTION
of BILLIARD BALLS
MARGONICK
With aclever piece of apparatus, the master Dutch
magi-
cian has developed some exceedingly effective methods for
its use. By its aid the performer can
PRODUCEFOURBILLIARDBALLS
between his fingers,
AT ANY TIME DURING HIS ACT !
In the Unique Magic Film “The Magic of Marconick“ he uses it as a “running
gag”-that is four balls are produced af ter each trick and when showing the
film we always hear gasps of amazement each time thefour balls appear between
his fingers.
This looks tremendously skilful magic . . yet . . NO manipulative skill is re-
quired . . the “gimmick‘’ does the “work“ for YOU!
We supply TWO sets of Four Balls. . one set RED and the otherWHITE. .
plus Ball Clips.
The instructions (with nine photographic illustrations) are by Lewis Ganson
and include “Four Balls from Silk” ..
“Four Balls Change Colour” and “TWO
Silks from One-Plus Eight Balls”.
Price Sl. postage 2/6. U.S.A. $6.00.
’

aNo silks are included as you may have them already, so there is no need to
NOTE:
buy extra ones.

PLASTIC BILLLARD
BALLS
Size 19 inch Set consists of three Balls and Shell Red
Price 5/6 postage l / -
Extra Balls or Extra Shells 1 / 6 each.
Colours: Green ..Yellow ..Blue ..Black ..White
.. Orange . . Magenta
Price per set of three Balls and Shell 6/- post 1 /-
ExtraBalls or Extra Shells 1/9 each.
BILLIARD BALL HOLDERS -Price 2/-post 6d.

307
l e UNIQUE
RECORD
MYSTERY
’ The present-day popularity of the Gramophone Record, lends itself to this
Outstanding Small Illusion. A 12 inch Gramophone Record is given for Exam-
ination and signed by member of the audience for positive identification . . is
i placed in a thin decorative case ( 12 inches by 12 inches by half-inch) and rest-
1 ed on a solid wooden Rod (painted to represent a giant gramophone needle . . it
may be examined if desired). The Record is then pushed right down into the
case thus penetrating the “needle” in the most baffling manner. The Record to-
gether with the “needle” actually impaling it, is immediately given out for Ex-
amination and the initiaIs verified!
The working is “Clean as a Whistle” . . EASY TO DO.
Suitable for Drawing Room . . Cabaret . . Dinners . . or a large stage.
Apparatus is well-made and tastefully decorated and is Complete and Ready to
WorkRightAway . . nothing further to buy. Routine and Patter (including
some comedy) included.
Price f2/15/- (postage 3 / 6 ) U.S.A. $11.OO.

An Excellent follow up to above Record Mystery . . ..is

VANISHING
GRAMOPHONE RECORD
On a small skeleton stand is seen a cardboard Gramophone Case. The case
is opened . . the record taken out . . freely displayed . . replaced in its case and
returned to the stand.
NOTE: If you have The Unique Record Mystery . . the procedure is simply
that you take the record just “penetrated” . . place it in the cardboard case and
then on the stand. You next show a large Paper Bag . . obviously empty and
place it on the stand. The case . . with record inside . . is taken up and covered
with a Silk . . then a moment later . . The Record Vanishes . . the case being
opened and shown completely Empty. Going over to the paper bag, you reach
inside and actually take out the very same record (remember it was initialled) !!
Easy to do . . complete and ready to work Right Away. Suitable for Draw-
ing Room or Stage . . A splendid trick on its own . . it’s doubly effective if
worked as a “follow-up trick” to previously mentioned “Unique Record Myst-
ery”.
Price f2/2/- (postage 3 / 6 ) U.S.A. $8.50.
SPECIAL OFFER: If the TWO tricks are taken at the same time . . the
price is only g4/10/- plus 3/6 postage. U.S.A. $18.00.
11 m BLACKPOOL SAW IT
FIRST :-
Il
Conventioneers acclaimed it as the best close-up entertainment of the day-

KEN BROOKE’S “COINS THRU

TABLE”
Ken sez:- Gentlemen-here’s the complete word for word description of
the routine I have been using at the country’s leading hotels for the past few
years. NOT JUST A SINGLE TRICK ! ! ! ! ! - BUT
“ A COMPLETEALL-ACTIONPACKED 7 MINUTESROUTINE ”.
If, and only if, you are willing to practice this for a few minutes each even-
ing, for a fortnight I, in return, will teach you a coin fantasy thatwill remain with
you always. It is something I use constantly for the simple reason that it can
be done under almost any conditions, even with them sat all around you. It
took me a long time to find a climax-but I found it and it’s right here for you.
Alone, this is worth pounds to any performer. All you require are a few bor-
.‘L
rowed coins, a table and chair and you are In business”. I don’t care what
you know about the trick, I‘ll teach you more and I’ll teach you how to sell it.
9 Let me make it clear:-
This is a manuscript only. You get no gimmicks, no apparatus. Don‘t buy
it if you are not prepared to learn and practice one simple move. If you will
give it a little time, then this may be your best investment for years.

Price - 7/6

Would you like to “top’’ the above?

Then do as I do and use:-

”COINS THRU THE SPECTATOR’S HAND ”

Strange as it may sound, I am often accused of using trick tables (although

they belong to the hotel) when I perform the above. To combat that theory
I then pass six coins through a spectator’s hand. For this I use half-pennies,
dice and a small leather cone.
A beautifuloutfitfor the showing of a beautiful trick. What happens is
simply that . . . .
SIX COINS PASSTHROUGHASPECTATOR’SHANDUNDER
IMPOSSIBLECONDITIONS !
We send you all the gimmicks plus a real leather Cone. It’s complete with full
instructions and requires very little skill. Do it anywhere-Always r e a d y A e t
in a second-A trick that will make them talk for a long time.

Price - 12/6 (postage

6d.)

e NOTE:“Coins Thru Spectator’s Hand” is a complete Easy to dotrick on

its own . . . . TRY IT !

309
 Ken sez - “See m y “GEN” snippit “KORAN” effects :-
about these two
“ EXTRA SENSORY PLUS ”

As it stands (and you must have seen A1 do it on his

Television show), it’s a fine trick. Briefly, from a pack
of giant size cards, a spectator thinks of any one of forty
different designs-You instantly name the design he is
thinking of! You repeat this twice andthe last one
knocks them for a loop!
We can’t all be “AI Koran’s’’, so I’ve devised an extra
presentation which we had a lot of funwith at Blackpool
and incidentally sold a lot of tricks. My stunt, although
sticking to the original theme and effect, plays more for
laughs. YOUcan read it elsewhere in this issue. If it appeals, act at Once and
mail your order right away.
Price dil. postage 1 /- U.S.A. $4.00.

K O R A N ’ SM I R A C L EP A C K
You’ve seen Al’s show - You must have seen him have
someone look and think of a card in the pack. He names it
at once, without any fuss, sighting or bother. What you per-
haps don’t know is that it’s all as simple as eating pie when
you have Miracle Pack in your possession. For many, many
years a great \favourite with AI, this can be yours for the
modest sum of ‘12/6d.
If you are interested in card tricks of any kind, this is some-
thing youreally must have. It’s a packwith a thousand and one uses. YOU
can do it five minutes after opening the package. Use it as A1 does (as in
instructions supplied) or, again if you play for laughs. Read my snippit in this
issue.
Pice 12/6 postage 6d. U.S.A. $2.50.

AL BAKER’S
CUT and RESTORED RIBBON
Over in the Statesthey are now raving about this
delightful trick. The reason - Dai Vernon has
been ‘teaching it in his classes. Briefly, a length of
ribbon is held at the finger tips. Without any false
moves at all, you (or the spectator), cuts it right
in the very centre. You tie the two equal lengths
together-the knot is right in the centre- the knot
vanishes-the Ribbon is restored!
AI Baker’smagic rates with the greatest in the
world. His methods were always simple - his
effects always direct. There are no sleights and we send you everything re-
quired to perform it right away.
I Price 15/- postage 6d. U.S.A. $3.00.
310
1 A BULLS-EYE AT BLACKPOOL !
I
TRIPLE MILK V A N I S H
LEWIS GANSON

Full of surprises this clever routine is magical

action from the word “go!”,

You first show abox . . Empty. Picking up a Jug

of Milk you “thoughtlessly” pour the liquid into the
box. Suddenly, realising what you have done,
you look worriedly inside. But,
with a sigh
of relief you reach inside the box and produce a Glass of Milk! This is placed
on the palm of your hand and covered with a Cylinder. Lifting the cylinder it
is seen that theglass of milk has vanished!

However, reaching into box again, the “missing” glass of milk is reproduced!

l Oncemore you place it on the palm of your hand, cover it with the cylinder
~ and it vanishes again! !!
To “top” it all, you reach into the box and once again take out the glass of
milk . . which, by the way,can be drunk (if you like the stuff) . . or used in sub-
sequent tricks!!!.
1,
If you don’t mind spending a bob ( 1 /-) for each performance. . you can drop
the final glass into a paperbag and immediately crush it for the final vanish!!!!!

NOTE-If desired, the Box can be shown EMPTY. . ANY TIME through-
out the trick.

Many, many other effects are possible with the ingenious apparatus . . for
remember . . the “box” (size seven inches by five-and-a-half inches by four-and
-a-half inches) enables you to produce or vanish . . small articles, silks, glass of
liquid (this being done without the need for covers of any kind) . . a real utility
prop. While the “cylinder” vanishes two “glasses of milk” (or beer if you pre-
fer) .

EntirelySelf-contained. EASY TO DO . . you can put this in your show

RIGHT AWAY. The various effects areso clean-cut, it is perfect for the silent
as well as patter magician.

Price 50/- (postage 3 / 6 ) U.S.A. $10.00.

 U N I Q U E MAGICAL H I S T O R Y
MADE AT
THE 1962 BLACKPOOL CONVENTION

,
where we proudly presented FOR THE VERY FIRST TIME THE

FABULOUS
FEATHERWEIGHT ~

KING SIZE
LINKING RINGS

Conventioneers were astounded at the ExceptionalQualities of these Extra-

ordinary rings.
T W E L V E inches in diameter yet
THANKS to MODERN MATERIALS and MODERN PROCESSES
T H E E N T Z R E S E T weighs only a little more than a SINGLE
“standard” ring!! Despite this . . .
These rings are Chrome Plated - treme ndously tough - Sound like Bells in
action . . . and almost “Float” through the fingers in handling.

The IMPACT on the magicians was so strong, they flocked to buy them!
WE
ARE WILLING TO WAGER
that never in the history of Magical Con ventions have s o MANY sets of rings
been sold in a single day!

UNIQUEKING SIZE RING SET consists of Six Rings . . . A Chain of

Three . . Two Singles and a Key Ring . . in other words “ The Dai Vernon Set”
Price f6/6/- (postagefor box and packing 3/-) U.S.A. $25.00.
ADDITIONALRINGS -Singles 21/- U.S.A. $4.00. - “ Doubles” (Two
Linked) 45/- U.S.A. $9.00.

a NOTE- The Single Rings are ideal for use in the “Thumb Tie” trick
also for the “Penetrations” by a Silk with a Reel.
 I
3' I

7 I
I

Voluine 17. NO. 12. L

1
__ 'RIL 1962
 e N E WF R O MA M E R I C A - - -
K O R T I SN O WI NS E S S I O N
MILTON KORT
A “first book” by a man who has a world-wide reputation as a top close-up performer. Cards and
Money are used p i his Routines that flow smoothly withplenty of actionandthrilling climax. Illu-
strations are by Steranko, plus action photographs. Spirally Bound for ease of reading.
Price - 21/-
Cliff Green’s “ PROFESSIONAL CARD MAGIC ”
Here are real secrets of a professional card performer. All the routines, sleights and wrinkles t h a t
have made Cliff Green one of magic’s great card experts. Many effects t h a t have been cherished pos-
sessions of only the inner circle of card experts. Ed. Mishell with Cliff Green posing,drewover 100
illustrations.Each effect has moves andideasapplicable to allcard magic. J u s t look oversome of
the great card magic described for you to perform.
New concepts on the Double Lift Topping the Pass ..
The 90% Perfect Change (includipg the ..
other 10%) ..
The Phoenix Aces-a fantastic visible production of four Aces.
Henry Christ’s Fabulous Ace Routin-a much envied routine never before published . Topping .
The Peek ..
The Evaporating Aces
locked Card Production-A
..
Flight of The Blues-the last word in cards across
Cliff Greeninovationincluding t h e originalmethodandthebeautiful
. Inter- .
Cotton-Sendax method ..
General Delivery Cards to Pocket-the red cards go to one pocket and the
black to another ..
Impromptu Cards Across . The Unfathomable Card Prediction. .
A beautifully Printed and Cloth Bound Edition - Price 55/-

4
AN EVENING WITH CHARLIE MILLER
AT LAST, this lengendary American magician bas been persuaded to write a book.
As would be
expected ..
it is full of GOOD THINGS Certainly NOT TO BE MISSED! ..
Price - 21/-

MALINI and his MAGIC

by DAIVERNON - Written by LEWISGANSON
A wonderful record of the life . . tricks and methods of one of the most fabulous character in magical
history. A man who withhismagic became friendand confidant of Royalty . . PresidentsandBig
business tycoons all over t h e world.
Nine Chapters - Malini the Man - Malini’s Full Evening Show - Malini’s Methods (description of
t h e workinsz of his tricks) - Malini at the Bar -Malini at the Dinner Table - Malini and a Pack of
Cards-- MTscellaneous Magic - Malini the Promoter - Malini and Edwin Dearns.
Dozens and dozens of Tricks and subterfuges used by him in Close-up and Stage performances. Many
Illustrations byDemnis Patten . . plus lots of interesting and Historic Photographs. Tricks include -
Silk Vanish - Colour Change Silk - Levitation - - Penetration and Vanish of a Tumbler - Blind-
fold Card Stab - Malini Egg Bag - Cut and Restored Ribbon - Bill, Lemon and Egg - Button Trick
- Production of Two Bowls of Water - Production of a Block of Ice - Vanishing Tobacco - Tricks
with Sugar - Bill in Cigarette - Cutting the Menu - Jarrow’s Cigarette Trick - Coin Fold - Water
from Walking Stick- Coin Vanish - Whisky and Water Transposition- Magnetic Cigarette Paper-
Production of a Glass of Beer - Coin Switch - Vanishing Whisky - Book Test - Billet and Tele-
phone Tricks - Matching Matches - Colour Change Cards - Card Vanish - Cards from the Mouth
- Siamese Aces - Card in Hat - Riffle Force - Peek Force - Side Slip - Pack Vanish and many
others - Tricks t h a t baffled all the magicians - press men and public alike.
I would like every magician t o buy this book . . for from this great feast of tricks,methodsand
stories-one should gain a wealth of knowledge and instruction. A Cloth Bound Book with Gold Letter-
ing and Dust Jacket.
Price - 25/- U.S.A. - $4.00.
...............................................................................................................................................................................
.......................................

T ~H E~ C
- _ E_L E S T I A L A G E N T
- ~~
- by CHARLES J.
A greatvariety of mental,psychicandspiritmaterialforthe magician.Designed for m e man,
allconditions use, includingpatter. All together,making a fullevening show. Includes: Introduc-
toryLecture,LadyContactsHeaven,Knotting a Rope Celestially,Spirit Table Lifting,Patriotic
Spook, Spirit Calendar, Spirits and Spectators, Celestial Vision,Reflected Images, Celestial Question
Bureau,PhysicalContact Mind Reading. Make Your Show Different-dd a n effect fromthis book
-a newkind of effect. Printed,Illustrated.
.Price - 14/-
 0 0 0

!I‘Hl6 MONTH WE raise the Gen glass t o wish he’alth, hap-

piness and continued success t o one of Italy’s top-flight magicians
Our regularreaders maywonder whywe arebeginning by
extending our good wishes to our Front Page Personality instead
of doing this at, t h e end, as is our usual custom. We could have
begun by writing that Sitta,is President of Italy’s leading magic-
al society, that he is editor of Italy’s magical glossy magazine
“Moderna”, but, in t,his instance we’ would like to use Sitta and
his magic as a lesson in the art of presenting one particular
branch of magic as an entertainment.
Sitta’s number one stage act is presented in costume, so right at the outset he has provided himself with a
logical reason for using spectacle and colour. Wisely he has selected only effects whirh Buit. the character he is
playing-and he gives a splendid performance in the role of a Chinesemagician Chun-Chin-Fu. Sitta realised
that the impassive expression and somewhat, deliberate movements usually associated with a Chinaman could be
a. trap with which a.n unwaryperformer could fall, by slowing down the action. He has neatly avoided this,
without going out of rharacter, by eliminating unspectacular preliminaries and causing magical effects to hap-
pen speedily. Hereagainthecareful choice of effects pays off because eachone is visual,the magic taking
place before the eyes of the audience, without the use of cover. It is the type of magic mhirh is accepted and
enjoyed by modern audiences, who will not suffer gladly, long drawn-out nonsensies, which become boring long
before a climas is reached.
Being a silent act, Sitta’s magic has to “speak” for itself-each action has t o have a visual reason for being
made and that action has to have eye appeal to sustain interest and lead on t o a spectacular magical happenlng.
By speaking with actions instead of by words, there arc: no language harriers and Sitta is able to present the
same act to audiencesin all parts of the world. Certainly the number and t,ype of t,ricks available t o him are
limited because of t h e conditions which he has imposed, by t,he part he has chosen t o play.However, a few
moments thought will show that these limitations are a blessing, in that tricks aiCh long explanations, or with
tedious preliminaries are eliminated from the start.
We remember SLYDINI telling us how impressed he was when he was invited by Sitta to watch him prepare
for his act a t t h e I.B.M. Convention at Hastings. Each effect was prepared with meticulous care then checked
and rechecked. Sitta’s costume, although worn for hundreds of performances looked in new conhition and was
kept that way by careful pressing before each performance ; t h e silks he uses are always ironed between shows.
Personal appearance, preparat,ion, rehearsal, music, lighting and performance can all be summed up in one word
- -immaculate.

For many years we have been impressed with the manner in which the top continental magicians base their
acts on a carefullythoughtoutplan,thenmake fulI use of VISUAL magicaleffects and Colour. Thenames
of Sitta and Marconick come immediately t o mind and as anexample of the type of effect which both these
artistes favour, we have described one of Marconick’s originat,ions in t,he pages which follow.
For the past. five weeks Sitta has been appearing in London and we know that. it is the wish of all British
nlagicians that he gives repeat bookings to further enchant us with hismagic.
LEWIS GANSON.

CONTENTS - - - - - -
From the Gen Desk - Lewis Ganson .-. 315 The End - Peter Riley ......... 322
Avara’s Mutilated Cigarette - Rink ... 316
Two Rings and a Silk - Glenn Cravatt 323
Remarkable Possibilities with a Square Lewis Canson Explains
“Marconick‘s - of Colour” ...
Display 325
Knot - Rink ......... 318
Pop-Eye Pips Routine - Ken de Courcy 319 Mental Meandering. -
Harry Stanley
... 328
Children’s Comer - Wilfred Tyler ... 330
Four Coins in a Tumbler Routine - Review ... Harry Stanley . . . . . . . ..
Niberco . . . . . . . . . . . . . . . 321 331

THE GEN is published on the 10th of each month by HARRY STANLEY, 14, Frith Street, London, W . l . -
Single Copies : 2/6: Twelve months
subscription 25/-. U.S.B. Single Copies 40 cents: Twelve months
LEWIS Editor: GANSON. PATTEN. Art Editor:
DENNIS
,a HARRY STANLEY 1962.
Harry Stanley.
Contributionsare only accepted on t h ek r n w that thecopyright belongs to

315
 EFFECT:
In this effect, an -invention of Avara
(van Ravestein), a cigarette, marked by
most position, a cigarette in the tube BC
a spectator, is put into a little paper tube.
(see also Figure 5), can’ t fall out. D and
Tube and cigarette are perforated by sever- E are little sharp nails, soldered to the out-
al pins. At the finish of the trick the
side of the flange and sticking out at the
cigarette comes undamaged outof the tube. bottom for about one-sixteenth of an inch ;
their use will be clear later on.
I. P R E P A R A T I O N :
3. Figure 4 is another tinplate fake,
1. A faked cardboard cigarette-box is which fits in the box and is necessary to
used for the change of the cigarette. This cover the mechanism. It reaches to about
is a kind of flat box, usually containing halfof the height of the box. The top of
about fifty cigarettes. . This box is emptied this fake is covered with white paper and
and a holeis cut in the bottom and the (or) tinfoil. About
twenty cigarettes
back side of the box. This is shown in are arranged on the topof this fake.
Figure 1 , in which the box is sketched up-
side down. The exact measurement of 4. A few pieces of fairly strong paper
this opening will depend upon the fake, are on the table together with some loose
which has to slide inand out of the box and pins with colouredheads. The measure-
which will be described hereafter. On the ment of the papers is about two-and-a-half
frontside of the box (marked A. in Figure inches to three-and-a-half inches.
2), is glued an extra strip of cardboard, to
act as a buffer, so that the box can’t close ROUTINE:
altogether (see also Figures 5 and 6). The c 1. The performer is sitting at the table
fake A, Figure 2, can possibly be made with the audience in front of him. One of
lower than in the sketch. This has to be the spectators is offered a cigarette from the
tried out. box, together with a pencil. He is asked
to put a small indentifying mark on the
2. A fake of tinplate is made, which cigarette.
looks as in Figure 3. In this fake BC is a
little square oblong tube, open at the bot- While this is done, the box is closed and
tom, in which a cigarette fits loosely. This put to the right of the performer with the
fake is put into the bottom of the box, so opening side to the audience. As soon as
that the flange FG sticks out at the back- the box is on the table, it is put forward a
side of the box. With the fake in the fore- little bit. As the two little pinheads en-

316
gage the table cloth, the tin fake slides out
of the box at the backside. This brings
the box, which was originally in the posi-
tion of Figure 5, to the position of Figure
6. I.o.w. the cigarette in the fake is now
free to drop,while at the same time, a little
servante is created at the back of the box.
D

2. Whenthe marked cigarette is re-

ceived back, this is casually put for a mo-
ment on the top of the box as in Figure 6.
A s the cover is slanting ‘a little bit to the
back, on account of theextra cardboard
strip at the front, the cigarette rolls down
the slope and in the servante (Figure 6 ) .
While the left hand takes up one of the
papers, the right hand carries the box to the
right. The cigarette, which comes to view
and which seemingly has rolled down the
box, is really the duplicate.

3. This visible unmarked cigarette is

taken in the right hand and one of the
papers isrolled round it in a little open
tube. To prevent unrolling, the tube is
fastened with a cheap stamp.

Different pins arenow stuck through

the tube and cigarette and then the tube is
handed to the spectator to push in some
more pins. While the spectator is busy
doing this, the performer casually picks up
the box with his right hand and in the act
of giving the box over in the left hand, the
cigarette is slid out of the servante in the
right hand,where it is palmed. The left
hand closes the box and puts it in perform- but as the right hand finger andthumb
er’s pocket. press the sides of the tube, the mutilated
cigarette can’t dropoutand the palmed
4. The left hand now takes the tube one is released instead, and drops on the
from the spectator and shows it around table. The left hand pushes this cigarette
with the pins sticking out from all sides. to the spectator to confirm the mark, while
The right hand now pulls out the pins and the right hand retreats to the table edge,
as soon as the last pin is pulled out, the where the cigarette is dropped out of the
fingers of the left hand press the sides of the tube into the lap. At the same time, the
tube, so as to avoid the premature appear- body leans back to relaxin true Slydini
ance of the cigarette. The right hand imi- style.
tates the trying of pulling out the cigarette.
The right hand, with the marked cigarette 5 . The left hand now takes a matchbox
palmed, takes over the tube (see Figure 7). out of the trousers pocket and in passing
The left hand now taps the top of the tube, the lap, picks upthe mutilated cigarette
31 7
and pockets it. The tube ispassed to the ette to the spectators, so as to avoid that
spectator with the right hand and both curious eyes should spot the fact thatthe
hands are free to offer a lighted match to cigarette is not marked.
the spectator for the cigarette.

N.B. - When at the end of 2, the un- This trick won thesecond prize in micro-
marked cigarette is handled, care should be magic at the International Paris Conven-
taken to keep one of the ends of the cigar- tion.
~~

REMARKABLE POSSIBILITIES WITH A SQUARE KNOT

BY RINK
I AM RATHER proud of the knot,I am
going to describe and which I found
by accident. I kept it a secret for several
years, but think it is about time to release
it to the fraternity. I willfirstlydescribe
the knot and tell you of the differencewith
the normal square knot and then go on with
the trick.
If you look at Figures 5 and 6 first of all,
you will see that both are the picture of a
square knot, but. . . there is a difference.
The square knotin Figure 5 can be upset
by pulling with both hands in opposite
directions, holding the rope at C and D.
If on the other hand, you should do the
same thing with thenormal square knot in
Figure 6, the knot would not be upset at
all, but be pulled all the tighter.
Now let's see how the knot in Figure 5
is made:
With the two ends of a rope in the left
hand (C) and the right hand (D), follow
the Figures 1, 2, 3 and 4, and the peculiar
square knot of the Figures 4 and 5 will be
the result. The squareknot in Figure 6
of course, needs no explaining.

The Application of the Two Knots:

Two pieces of not too thick magician's
rope of about three feet in length are used.
Let a spectator choose one of them and take
theotherone yourself. Convince your-
self that the spectator isable to make a
square knot, if not, ask for another one,
who can make it. Ask him tomakea

318
square knotin the two ends of his rope and
not to pull the ends too tight. While he
does this, you do the same with your own
rope, but you make the knot of Figure 5.
Show him your knot, covering thefour
ends, which cameoutof the knot, with
your thumbs and he will agree, that it is
a square knot (don’t worry, he will).
Release your ends A and B, but keep
the knot slightly in motion. Now tell your
assistant that youwill both do the same
thing. Both grasp their loops at C and D
and pull their hands apart, with the result,
that your knot will be undone, but his will
be pulled all the tighter.
Both the knots are untied and the ropes
are exchanged. With the interchanged
ropes the foregoing is all done over again.
Now comes the climax and the proof that
you didn’t doctor with the knot. One of
the pieces of rope is putawayandthe
spectator is asked to make a square knot
in thetwoends of the remaining rope,
but not to make the knot too
tight.
A s soon as the spectator has made the
knot, you take the rope out of his hands
and hold it as in Figure 7.
You stress the point that he made the
knot himself and ask him to come a little
closer, to have a good look.
All of a sudden, you pull both hands
apart, but . . . . . everything goes so quickly
that he can’t follow it . . . you release differ-
ent ends. The right hand pulls on A, and
the left hand on C (see Figure 7), while
B and D are released at the same time.
The knot collapses and at the same time
the end CB slides through your left hand,
until only B is in the lefthand and therope
is held between both hands at A and B.
The best and easiest rope to do this with
is the thin rope supplied by Harry Stanley
for the “Slydini Rope-trick”.

“
One ofthe most unusual inventions my brother ever produc-
ed was the “Three-sided Playing Card’. It was designed for
those people who only own two-thirds of a pack of cards. For example, this card is the
Three of Diamonds on this side . . . (hold the card up in front of you to show the Three,
then place the left hand fingers over the fifth pip on the four side which faces you) . .
and the Four of Diamonds on this side (turn the card over to Figure 2 ) .

319

1
I into position) . . . two pips that can be
“So now you’ve seen both sides of the
card. But you haven’t seen the third side.
Well, that’s here . . . (place theright fingers
over the top pip of the Threeside and turn
the card over) . . . and it’s an Ace”.
“You look a little doubtful, so I’ll show
you again (and here you reverse the move-
ments). Look, one sideis an Ace,the
other a Four and the Third Side bears the
Three of Diamonds. What further proof
doyouneed?(Continuetoshow the
Ace, Four and Three a few times).
320
“Occasionally my brother has positive
periods of genius. For example, when he
was working on this Three Sided Card, he
sometimes managed a major Scientific
Breakthrough by finding aFourth Side
which, in this case, bore the Six of Dia-
monds (this is produced by a logical turn
after you have shown the Ace). By com-
parison, Penicillinis mouldy!” -
“I can see by your faces that you’re only
half convinced, and I’m only telling half
the truth anyway, so that makes us even.
I suppose I’d better show you how it’s
done or you’ll only stay awake all night
working it out and make everybody’s life
miserable tomorrow.”
‘6
There isn’t really aFour, or a Six.
There are five pips on the card and they’re
placed so that it can be a Four by covering
this pip, or a six by covering this space.
Simple, isn’t it?And on this sideyou
have something very similar . . . (while the
card is showing Three and Ace, take the
opportunity to slide the genuine sixth pip
shown aseither Ace or Three.”
“Usually the audience has a wonderful
sense of humour and laughs like mad at
the way it’s been caught . . . but occasion-
ally you get one of these tough crowds who
think it’s most un-funny. For them you
haveto do something special to redeem
yourself . . . such as producing a genuine
Six of Diamonds (turn over card to show
Six, and pull the extra pip down on the
rear side to produce a full Three). This
always knocks ’em cold . . . but they still
want to know what I’m going to do about
the Three-Sided Card. So I show them.
On one side is the Six of Diamonds . . . on
the second side is the Three of Diamonds
(turn card over to show Three and, at the
same time, change the Six into an Eight)
. . . and on the Third Side is the Eight of
Diamonds!” (Turn card over to show
Eight.)
“And that deserves three times as much
applause !”
Unique POP-EYE PIPS - 15/-
 TUMBLER ROUTINE
NIBERCO (HOLLAND)

T H E EFFECT OF this close-up routine You do this in the same way as the first
is classic, but the following routine
time. One coin in palming position, then
has many advantages above the old way. the coin with shell, and the last coin. In
The object is, that four coins disappear onethe same way as before you throw the three
by one out of the left hand. They appear coins into the left hand. Show three coins
one after the other audibly in a glass, which
in the left hand (in reality two anda shell).
is held in the right hand. With the coin palmed you take the coin
No extra coin is used, and the coins are from the table in the right hand and throw
it into the glass. Take the tumbler in your
shown very clearly in the left hand. Yet,
right hand. Close thelefthand,andlet
without the otherhand coming near, acoin
the second coin drop from your rightpalm
vanishes everytime.
into the glass. Show two coins in the left
The secret is an “extended shell penny”. hand, and pour the two coins from theglass
This is a shell pennythat fits over any onto the table.
penny.There is no preparation. Begin
withshowingthe glass. Count thefour
pennies on your right hand (Drawing 1 ) . SHELL *COIN
The first coin you put down,is in the right
place for palming. The second coin (from
thewrist) is apennywith shell. The
coins overlap.
Turn the right hand so that the coins
fall in the bent-in fingers and keep the one
coin palmed (Drawing 2 ) . Throwthe
coins intheleft hand.Withthe left
thumb tilt the shell a bit. Thepenny

9
comes into view, and you can show four
penniesinthe left hand.This is avery
convincing move, and takes the spectators
attention from the right hand. With this
hand, you take up the glass (Drawing 3 ) .
Close the left hand to a fist, bringing the
coin in his shell again. Drop the
coin intothe glass. Throwtheappeared
palmed

coin from the glass onto the table, show

the three coins in the left hand, and put
2
them in the right hand.
32 1

In the same way you let the third coin
pass. The last penny, covered withthe
shell, you put ontovour right hand inpalm-
ing position. With the left hand put the
three coins from the table into the glass.
Keep the left hand palm upwards and turn
the right hand round above it, and act the
catching of the coin into your left hand
which you form into a fist. Of course, the
coin and shell stay palmed in the right.
With this hand take up the tumbler again.
Open the left fingers a bit, and pretend to
look at the penny. This suggests that the
coinis still there. You can even “talk to
T H E EFFECT DESCRIBED below is
an idea for the closing effect of a
manipulative card act.
322
it’s your turn”. Of course,
6‘
it” : Now
your spectators arenot allowed to look
into your left hand. Drop the palmed
shell and coin as one into the glass and
show left hand empty. Spill out the coins
on your hand, taking care that shell is over
a coin. Showas in the beginning Four
Coins and a Glass.
If you prefer, you can borrow the four
pennies. Havethe shellpalmed and as
soon as you receive the coins put the shell
over one of them, thus being able to show
only four pennies.
- - B Y PETER RILEY
4 EFFECT :
A performer goes through his routine of
producing single and fans of cards, vanish-
ing and reproducing them etc. He finishes
off by producing single cards with a letter
on each one spelling out thewords-“THE
END”.
4 PREPARATION :
Six palming cards are needed. Stick to
each card a sheet of thin note paper, to the
size of the cards. Usea good brand of
note paper which has a shiny surface; if
cheap paper is used you willhave difficulty
in producing the cards. Print on each card
in black ink as large as possible, one letter
to spell the words “THE END”. I have
tried using Lexicon cards, but the letters
are too small to be seen from a distance.
4 METHOD :
At the appropriate time in your act, load
the six cards onto the back of your hand
in the order D, N, E, E, H and T with D at
the bottom next to the back of the hand.
Produce the first card T, holdfor about
three seconds then produce H and so on,
speeding up the production as you near the
last letter.
 u q c ptheq o
0 RINGS
AND A SILK
BY CLENN CRAVATT (U.S.A.)
T H E TITLE LISTS the props. used - 2 large rings
or bracelets, and a silk. These three objects are
unfaked, so there is no secret for the audience to discover.
They aresmall enough to fit in the pocket,
SO they can be made available anywhere To perform, thread the RED bracelet on
at any time. There is no “get ready”, no to the centre of a silk. You may wish to
preparation, so the feat can be performed twirl the silk to give it more of a rope-like
without notice. The trickis easy to do, form. You then tie the following false
and once it has been learned properly, there knot in the silk:
is nothing to go wrong. It consumes very
little time. In short, it
is one of my The left end of silk, which we will call
favourites and I perform it frequently. End A, is heldbetween the first and second
fingers of the left hand which is held palm
This trick makes a splendid “follow-up” upward. The silk trails downward in
to my “Ring Transposition”, published in front of the second, third and fourthfingers
“The Gen”, February, 1962, issue No. 10 of the left hand. The corner diagonally
of Volume 1 7. In that trick, two large opposite, which we will call End B, is held
rings or bracelets, each of a different colour, by the right hand. (Figure 1 .) You
and two ribbons are used. Simply discard stand with your right side toward the
the ribbons, take up a silk, and use the audience.
same two rings for the trick l am about to
explain. Or the order of the two tricks The right hand brings End B up behind
may be reversed and this one used as a the left third finger and in front of the left
prelude to the other. second and first fingers, so that the silk
runs between the left second and third
I use the plain plastic bracelets which fingers, and on into the left thumb crotch,
Woolworth’s ordinarily stock. They come the left thumb holding the silkinplace.
in two sizes, children’s and adult’s, and in (Figure 2.)
a variety of colours. I will refer to a red
and a yellow bracelet in my description for Make sure a considerable portion of End
purposes of illustration, although any two B extends over the back of the left thumb.
colours may be used. Also, the rings otherwise the knot will tend to tie toward
may be of wood, metal, or any material, so one end rather than in the centre. The left
long as they are large enough for the pur- little finger is curled in over the silk (Fig-
pose to which theyare to be put. You ure 3 ) , or if easier, both the third and
may have among your magical equipment little fingers, to hold the silk against the
a couple that will be suitable. left hand.

323
 are withdrawn as soon as knot has been
tightened over this bight.

Do not draw the knot too tight. The

left thumb and fingers slide up the silk to
take hold of extreme EndB, while the right
hand holds End A. It appears that a knot
has been tied in the silk around the brace-
let.

Knots similar to this to which you may

wish to refer are: “Single Dissolving
Knot”, page 365 of Tarbell, Volume I ,
Knot No. 6 on page 186 of Hugard’s “Mod-
ern Magic Manual”, and “the Dissolving
Knot”on page 156 of Hay’s “Learn
Magic”, also several in Volume 2 of “The
Silk Encyclopaedia”.
Now pickup the YELLOW bracelet and
place it against the red one, so that the two
rings are lined up flush, with the red one
nearest yourself and the yellow one nearest
the spectators.

Now put the corner of the silk held in

the right hand (End A ) through BOTH
bracelets (Figure 5 ) , the direction of the
thrust being away from yourself and to-
wards the audience. The trickwill not
work if the silk enters from the opposite
direction.

MAGICIAN With Ends A and B tie a regular, genuine

knot, drawing it down on both bracelets
The right hand reaches through the loop and the fake knot. Then tie a third knot,
thus formed and seizes End A which is be- this one also a genuine knot.
ing held tight between the left first and
second fingers. (Figure 4.) The right The situation now is that if you hold
hand brings End A through the loop to- Ends A and B with one hand, and pull on
wards yourself. Meanwhile the left little the RED bracelet, it willcome free while
finger has released its hold on the silk. As the yellow one will remain securely knotted
you continue to pull End A, the left second on the silk.
and third fingers nip the small portion of
silk which passes between them andturnsAska spectator which ring he wants.
downwards and backwards a little, as the If he says red, pull off the red one and hand
right hand brings End A through the loop. it to him, showing that +the yellow one is
genuinely tied on the silk. If he says
Thus a small bight is formed so that, as yellow, pull off the red one, retaining it for
the knot is tightened, it tightens around this yourself, and toss him the silk with the
small loop or bight pulledback by the left yellow ring tied thereon. In either case,
second and third fingers. These fingers theeffect is startling.

324
 MARCONICK’S
D I S P L A Y OF C O L O U R
IF THE READER has had the pleasure of seeing Marconick’s
act, either on stage or in the Unique colour film “The
Magic of Marconick”, then it will be appreciated that the use
of colour plays a very important part in making the act so
attractive to the eye. This has not come about simply by
using colourful props. for the tricks them-
selves, butby planned blending of colours 0 THE SILK DISPLAY.
andthe addition of certain items which
have been included more for their visual This is somewhat similar to the appara-
attractiveness rather than their mystery tus used for the production of spravs of
value. flags.

The metal work consists of a metal plate

Marconick sustains this colour balance
throughout his act by following a black and
white effect with one which produces col-
our spectacle. For example, after a clever
mystery with a piece of white rope, he
picks up a large Chinese Dragon Silk,
reaches underneath and produces a display
of eight large silks all on staffs, then upends
the firstsilk when a large bouquet of
flowers appears. He makes no attempt to
make a great mystery of this production,
the breathtaking display of colour being
a sufficient effect for his purpose.
cut in the form of a half circle with a dia-
meter of three inches. At equal intervals
around the circumference eight holes are
drilled. Through each hole a thin eight-
een-inch metal rod (or stiff wire) is passed
and a circle made in the end with a small
blunt nosed pair of pliers. This circle
holds the rods or the plate, but allows them
to move.

The photograph on this page of Mar-

conick holding the silks andbouquet,
shows what a fine display is made, even
though the photograph is not in colour.

Let us now studythe construction of the

apparatus as it is a reallyfine item for
inclusion in a magical act. Certainly it
will take time to make up, but once this
is completed then it is a permanent feature
which will giveyears of service.

325

c
TM-=-=-e
G,-, 3 I’
qK
To each metal arm an eighteen-inch silk
is attached by rolling one edge of the silk
around thearmandstitchingit. Also
the plate itself is covered with silk so that
no metal shows. Obviously, the eighteen-
inch silks are of different colours and we
must leave the reader to decide what col-
ours will blend with other items in his act.
To keep the arms evenly spaced when
finally displayed, a piece of ribbon is stitch-
ed to the centre of each arm so that when
the arms are opened out the ribbon is in
the form of a semi-circle when viewed from
above.
The illustration will make everything
clear.
0 THE FLOWERS.
This is a featherbouquettwenty-four
inches in length when folded. Select one
with about eight blooms as this will pro-
PHOTOGRAPH 5.
vide a good display without being as bulky This photograph shows the ring on the
as the twelvebloom variety. end of the bouquet attached to the corner
of the main silk.
0 THE MAIN SILK.
Marconick uses a heavy silk witha
Chinese Dragon design. Actually it could
be made from a brocade material as this
too will hang correctly. Obviously it is
326
essential that it is opaque and should be
twenty-four inches square.
THE
SET UP.
The ring on the end of the bouquet is
attached to the corner of the main silk by
a piece of strong thread about an inch in
length. This allows the silk to be held be-
tween the thumb and forefinger (for dis-
play purposes) without the shape of the
ring ontheend of thebouquet being
visible. Sewtwo edges of the silk to-
gether to form an open ended bag around
the bouquet. Now study the photographs
and see how the apparatus is assembled for
performance.
1. PHOTOGRAPH 1.
Bring the arms together so that all eight
silks fall against each other,then place
them on a table. Notice that the plate is
totheright. Fold in thefree corners of
the silks, then fold the bottom forward as
in the photograph.
0 PHOTOGRAPH 2.
Fold the main silk back to completely
reveal the bouquet, then place this on the
silks, the blooms towards the plate. After
compressing the feathers, roll up the bou-
quet in the silks.
a PHOTOGRAPH 3.
Attach a STRONG piece of thread to
the ring on the bouquet and bring it to the
centre of the roll.Make alarge loop in
the end of the thread as shown.
0 PHOTOGRAPH 4.
With a single strand of WEAK thread,
tie the loop to the centre of the bundle.
e
9 PHOTOGRAPH 6.
Bring the bag-like main silk over the
bundle, so that it is completely enveloped
with the folds.
 PHOTOGRAPH 7. the bundlewillbecompletelyinsidethe
By holdingthemainsilkbetween the bag.Becausethere is no bulkwhere the
forefinger and thumbas in the photograph, silk is held, the silk will hang naturally.

327
 PERFORMANCE.
Marconick has the loaded silk hanging
by the corner behind his table. He simply
reaches with his left hand and brings it
forward as in Photograph 7, then moves
his right hand under the folds and grasps
the plate, pulls the spray of silks free (the
weak strand of thread breaks) and spreads
the arms with his fingers as he brings the
silks into view.
After just a slight pause to allow this to
register, he turns his left hand up allowing
the main silkto fall away from the bouquet.
Actually, a shake is necessary to free the
folds of silk from the feathers which have
expanded when the spray was pulled away.
The finaI display is extremely colourful
and so that it will be on show for the re-
mainder of his act, Marconick places the
bouquet and spray on a stand behind him.

MENTAL
MEANDERINGS -
HARRY STANLEY

THEPENCILTELLS “ ”
MANY YEARS AGO when staying with
my friend Harold Rouse and his
charming family, in Pittsburgh, we cooked NOTE : This prepared pencil should
up the following stunt . . . we had lots of be used for two performances only, after
fun with it . . . you should also. which it should be re-done. While you are
at it, why not prepare, say, half a dozen
EFFECT: pencils at the same time . . . it’s useful
“stock”. Mark the back of any card with
Spectator holds shuffled pack, face a bold X with the unprepared pencil.
down behind his back and cuts it complet-
ely. Using a .Red Pencil, he marksone Remember this card and place it second
card with a bold X and cutsit into thepack. fromthe bottom of the pack. Place the
cards in their case . . . have writing pad
Magician now takes the pencil and writes handy and you are ready to go, with a very
the name of a card openly on a piece of neat mystery. By theway . . . when it
paper. This is handed to a spectator and becomes necessary to re-sharpen the pencil
he is asked to turn the cards face up, re- . . . remember this . . . when sharpened,
move this card and lay it aside. He is the point will be fine and therefore liable
then invited to run through theother cards to break off when spectator “marks” his
to find his marked card . . . he cannot for it card . . . therefore bluntthelead with a
is the one previously laid aside! piece of sand-paper. Before we get on
with the presentation, I’d better point out
REQUIREMENTS : . . . in case you haven’t guessed it already
A small bottle of Clear Varnish L . two . . . that the effect depends on the fact that
Red Pencils . . a Pack of Cards and a small the “prepared” pencil will not write on the
writing pad. glazed surface of the playing card . . . yet
will write “normally’’ on paper. In other
PREPARATION : words, when the spectator “marks” the
card. . . nothing happens . . . no such mark
Dip the point of one pencil into the clear will result . . . YET . . . he cannot possibly
varnish . . . make sure that the Lead only suspect any trickery, as he sees magician
is dipped and that theliquid does not go on write the nameof the card with the SAME
the wood. Allow to dry thoroughly. pencil.

328
 PRESENTATION and PATTER :
‘‘ Have you any idea of the identity of
the cardyou marked?”His answer will
be “No”. “It is obvious that I cannot
Remove the cards from their case . . . have any idea, either . . . BUT . . . perhaps
fan them andshow backs and faces. the Pencil will Tell!” Picking up the writ-
Thanks to the marked card being second ing pad, magician now openly writes on the
from bottom, there should be no danger of top sheet, the name of his original marked
it being exposed. Say . . . Has it ever card. Use plenty of showmanship . . .
“

occurred to you that a pencil, having writ- write hesitantly and with occasional glanc-
ten so many times, may develop the ability es at the pencil, as if to get inspiration from
to reveal its secrets in a strange manner? it. When writing is completed, tear off
I will try and show you what l mean. l the sheet and place it face up on the table.
will shuffle the pack” (do so, leaving the ‘‘ This is what the pencil tells . . . please
marked card in the lower half of the pack). bring your cards to the front, turn them
1‘
Do you normally write with your right face up,run through them . . . find the
or left hand?” Whatever his answer, ‘pencil named’ cardand place it face up on
place the cards facedown on opposite hand the table” (He does so.) ‘‘ Turn the
. . . ‘‘ Now, place both hands behind your cards face down, run through the pack and
back, cut the cards and complete the cut. findthecardyou marked.” (He does so,
Take this pencilin your normal writing but fails to find it.) ‘‘ Strange as it may
hand, leaving the cards behind your back”. seem, if you turn that card over, you will
(Hand him the pencil.) ‘‘ Make a bold X see the X . . . so now you know that the
on thetop card”. (He does so.) “Leave pencil tells !”
the cards behind your back, and please re-
This clever principle is capable of many
turn the pencil to me. Now, cut the cards
variations . . fool around with it for a bit
once more, complete the cut, so that the
and you may come up with another good
card will be buried somewhere in the pack.”
one, quite different to above.
From now on, make sure that the pencil
is kept in full view of the spectator all the You can have the unprepared pencil
time. handy for a final “switch”, if desired.

+ Subrcribe to
” Hugard’s MAGIC Monthly”
HERE’S MARVELLOUS
MAGIC __ CLEAR - PRACTICAL - ENTERTAINING
Now in its 19th year of publication. Subrcription $5.00 per year.
2634, East 19th Street, Brooklyn 35, New York, United Stater of America.
We can accept rubscriptions for this fine Magazine at Unique Magic Studio, 14 Frith S t n e t , London, W.1.
- 35/- per year. -

TEE LINKING forRINGin

A magic monthly magazine exclusiv- to apply membership the 1.B.M
e]y for members of the International Write for detail. and application form to :-
Brotherhood of Magicians. Publish- INTERNATIONAL BROTHERHOOD OF
ed continuously since 1923. Averages MAGICIANS H.Q.-Kenton. Ohio, U.S.A.
or W.G. STICKLAND, “ T h e Wand”,
I40 pages, illustrated, each month.
Dudsbury Crescent, Ferndown, Dorret.
You do not have to belong to a Ring

329
 D -CHILDREN’S CORNER
By WILFRED TYLER

T H E PROGRAMME “Pencil and Paper” andothers where

drawing objects etc. are involved on the television,
seem from remarks which come my way from time to time to
. ..
be very popular especially amongst the
younger fraternity. With this in my mind
I decided some time ago to devize some
simple routine whichwould have similar
features butof such a nature that the really
young childrencould appreciate it. Dur-
ing a tidying of one of my cupboards in my
den, I chanced upon the “Unique” Picture
Frame which had lain in seclusionfor some
time. This Frame is the one which is
worked on that ingenious double flap prin-
ciple. This I thought was just the answer
to my requirements for this effectwhich
was formulating in my mind. I then de-
cided to draw (very roughly . . . to be too
accurate and precise would I thought kill
the whole reaction on the..type of audience
I had in my thoughts).

I therefore prepared a sheet of cartridge

paper with a series of simple line drawings
in thick wax crayon, . . . . various colours
(by this I mean each object was drawn in
a single colour but the colours were used
for several objects . . . . I do hope you see
what I mean).

Next, on a large piece of similar paper

DUPLICATES ARE HELD
BY PEG-UNDER RIGHT
SIDE OF JACKET- WITHIN
E A S Y REACH OF RIGHT
FINGERS
nearly the size of the frame was drawn a
replica in a selected colouredcrayon of one
of the objects-i.e., water can-this sheet
was affixed to one of the flaps of the frame.
A duplicate plain pieceof paper was placed
on one side ready for the presentation.

330
 Next a piece of paper exactly the same
size as the sheet with the drawings on, was
divided up into the same number of sec-
tions and in each was drawn a water can in
the same colour crayon as the water can
drawn on the specimen sheet.
Next, the sheet was torn into strips and
again into sections so that each drawing
was on a separate slip. These were then
affixed in a clothes peg which dangled on
a safety pin under my jacket so that the
edge of slips was just under the edge and
easily obtainable when required by tugging
on the bunch with my right hand. A set
of crayons, a changing bag with a set of
the “force” coloured crayons therein com-
pletes the arrangements.
Performer now displays the frame, tak-
ing it to pieces and showing glass and back-
ing card separately, places pieces of plain
cartridge paper on back of card backing
( I use a small dab of wax). A Silk Hand-
kerchiefisused to cover the frame (and
the dirty work executed! !! !) and frame is
handed to a young assistant to look after
for the time being.
The sheet of designs is shown and each
described (and you will find a little patter
REVIEW - - - - -
FLYING TO NEW
YORK
with Johnny Hart and his assistant Lorna
was the biggest “excitement” of the month.
On paper, preparations for such a journey,
doesn’t seem much, but their actual execu-
tion is a different kettle of fish! Passports,
Visas, Vaccinations, Licences, permissions
and thedozen and one other things one has
to do for a professional trip abroad. For
instance, both here and in America, there
are stringent regulations regarding the “im-
port” and “export” of Birds . . a clean bill
of health has to be obtained, after examina-
tion by an official veterinary. Also Lorna,
being under 18 years of age, had to be
on each toy and its uses etc., easily flows
and helps the presentation).The sheet
of paper is folded and torn into strips and
then into sections so that each piece now
has a different drawing . . . a slight turn to
the right as you address assistant about the
progress so far and into your right hand
pocket goes the bunch of slips and the set
under the right side of your jacket are
tugged from their clip.
The right hand comes forward and no
one will suspect that the slips have been
switched. They are shuffled and assistant
asked to select one. Next the coloured
crayons are brought forward and tipped in-
to the bag so that it can be decided which
colour the selected drawing shall be. The
force is executed . . . all is now complete
except the denouement. If you wanta
little added byplay, you can take the select-
ed crayon and make animaginary drawing
in the air explaining that as you make the
strokes in the air so they are transferred by
your magic powers tothe paper in the
frame .
Note: You willreadily appreciate that
the object selected canbe changed for every
showquite easily. A most important
point too!
- - - HARRY STANLEY
taken to Bow Street, where I had to assure
the Magistrate that she would be well look-
ed after while abroad and that I would also
reproduce her there immediately on her
return. We had to give the same assur-
ances in visits tothe Police at Scotland
Yard. All this may seem a lot of red tape,
but one has only to read the “Sunday
Newspapers” to realise how necessary are
these regulations to protect young artistes
going abroad.
NEVER
HAVING BEFORE FLOWN
you can well imagine, that to the young
people, this journey was quite an adventure
33 I
in itself. We were scheduled to leave comer. But, we sorted it out and I must
London Airport at 1 1 in the morning to say he stood upto it like a trouper. I
arrive in New York at I .40lunch-time! In heard that another famous show wasbeing
case you think we went by Rocket . . let filmed that evening, so thinking that it
me assure you that it was a normal Jet . . would be useful for Johnny to see a show
the fantastic timing being accounted for, played to an audience under similar con-
by the fact that we are five hours ahead of ditions, I arranged for our attendance and
American time. Actually
the journey thus we saw The Gamy Moore Show. It
took just under seven hours. was excellent! We then made a mad dash
across town the to Brooklyn Music
THE RECEPTION
COMMITTEE Academy ( a very nice theatre) where the
at Idlewild Airportwas headed by Lou Assembly Number One of the
Tannen and Ricky Dunn who, after inspec-
tion of the Birds by HealthDepartment SOCIETY OF AMERICAN MAGICIANS
Officials whisked us off to our Hotel, near staged their Annual Show. I nearly had
TimesSquare
and Broadway. After my arm pumped off by many old friends.
a quick wash and brush up . . we had to I’m not going to mention names, because
dash offtothe British Consul to report if any are left out, it causes offence.
Lorna’s arrival . . yes, they check up both
sides ! The bill comprised of just three artistes
..
. . Neil Foster . . assisted by Jeanne Bob
IT WAS LATE NIGHT AT TANNEN’S Rolliis and Milbourne Christopher.
surely the most beautiful magic store in
the world . . and there, waiting for us was Those of you who had the good fortune
“The Professor” himself, Dai Vernon and to see Neil, when he made his first appear-
many of the New York chaps. They gave ance in this country, at one of my Unique
us a good time and later we adjourned to Shows many years ago, won’t need telling
an “Automat” where Johnny and Lorna that he provides a feast of manipulative
had a great time putting coins in slots to magic. The biggest favourite is his Zom-
get the food. bie Floating Ball Routine . . it really starts
where all the others leave off. Since the
A s next day was full for rehearsal, I in- days we saw him, he had added many new
“
sisted on anearly night for the young ’uns. moves” and it really is a beautiful thing.
(“Papa Stanley” sneaked out later, visit- Bob Rollins, a new name to me . . turned
ing Jazz Clubs, as some of my favourite out to be an experienced entertainer with
musicians were in town!) Balloons and with both adults and kiddies
on the stageto assist, quickly made the
THE C.B.S. T.V. STUDIO various figures, plus lots of funny stunts.
at 53rd and Broadway, was the scene of He finally gave eachhelper an inflated,
ournext few day’s work. Formerly the elongated balloon, and with suitable in-
“Belasco Theatre” . . itis now used ex- struction from him, they fired them out into
clusively for television. Timing and the audience in a continuous shower. As
Camera rehearsals were the order of this my Billy would say . . “the joint really
day. Actually most of the time is spent rocked!”.
waitingaroundfortheother acts to do
their stuff. The bill comprised of eleven The interval gave further opportunityfor
acts . . so it was cut-cut-cut for everybody, friends to greet me andon our returnto the
Johnny fared better than most, but it is auditorium, CompereFelix Greenfieldcall-
quite an ordeal for an even experienced ed on us to “take a bow” . . a verynice gest-
performer to have to chop up a smooth ure. Second half was taken up by a con-
running act, let alone a comparative new- densed version of the “Milbourne Christo-
332
pher Show”. I first met Chris over thirty LIGHTS-CAMERA and MUSIC
years ago, when he was on the same bill The Orchestra, under the direction of Ray
as us at the famous old variety house, The Bloch is one of the finest in America . . our
Holborn Empire. He was then doing his music sounded smashing. We have a
“Two Lazy Sailors Rope Routine” in the super-extended set for these big bands
act of a pantomimic musical artiste, Fred (swanker!). During the “waiting-about-
Sanborne. Chris is nowa famous Inter- times” we met Bob Lewis who, although
national Star in his own right, with a full doing a short “single” story and banjo spot,
evening show thatplays with great success this time, used to do a fine comedy magic
all over the world . . they loved it in Brook- act with hiswife. Workingamongthe
lyn, this night. I must confess I still have 6‘
technicians” was another magician Lon
a sneaking regard (perhapssentimental) Masterson who (dates permitting) other-
for “the two lazy sailors”! wise tours a big illusion show . . including
the “Floating Piano!”.
AN AFTER-SHOW PARTY By the end of the day the showwas
was given by the eminent New York phy-
shaping up nicely . . so we went
sician, Dr.Joseph Freis andhis lovelywife.
Their magnificent house was jammed full
of New York’s most famous magic names
STAGGER-RING
off to meet Richard, at a restaurant that
. . They made a fuss of us . . we loved it! was packed with show-bizcelebrities.It
Lou Tannen and his charming lady (who
looked as if we had a long wait, but with
hosted us for this evening) drove us home
his usual delicacy, he called the proprietor
and to bed (not perhaps as early as it
over and growled “This is no way to treat
should have been for J. and L. . . but in famous stars from England, find us some
good time for me to make the rounds again, seats, you bum!”. This obviously touched
listening to some more jazz music greats! the heart of the poor fellow, for we were
soon seated and enjoying a first-class meal.
“THE DUKE OF WELLINGTON I could feel that Dick was dying for me to
SPEAKING” ask him to show us his widely publicised
boomed a voice in the telephone, early next 46 Stagger-ring”, so I obligingly said “Dick,
morning. It sounded suspiciouslylike an you are driving everyone mad with curi-
old sparring-partner pal of mine, so I re- osity with your adverts in “Genii” and
plied “that must be the most hated, admir- “Abra” . . is it kidding . . or is it real? He
ed, obnoxious, warm-hearted, cleverest, snarled (in his friendliest way) “ask any
character in American Magic . . the one person in this restaurantto loan you a
and only finger ring”. “What a complete stranger”
I queried . . “we don’t do that sort of thing
RICHARD HIMBER in our country”. “Alright you cowardly
Right, you dog!” he yelled . . “Bring the Limey, point to anyone andI’ll ask them”.
“

kids along to dinner tonight, otherwise I’ll This I did, and Richard marched up to the
tear you to pieces!” Some years ago I person and demanded the loan of a ring!
was his personal guest for three weeks, The chap didn’t wear one,butanother
but despite this, I still has a soft spot for diner at the same table obliged, as did an
the old buzzard! I also know that he al- overlooking waiter. Dick then passed two
ways takes favoured guests to eat at the rings onto a pencil held by spectator and
most interesting places . . so I reluctantly linked them together. “A great trick
( 3 ) agreed, and was then given directions Richard” you can quote me as saying that
to meet him that evening at the famous you had the spectators fooled completely!
“Stage Restaurant” . . so with thatpromise
in view, we wentoff for another day’s work Being serious for a moment, 1was alittle
. . this time with disturbed to see that Dick was not in the

333
best of health . . I knowyou will joinwith BACK TO THESTUDIO
me in wishinghim a speedy return togood
health. where Ken (happily settled with his wife
and family in London) andI are now busy
THE GREAT DAY CAME demonstrating, teaching and advising in
full flight. There can be no doubt . . the
Sunday, 18thMarch and Johnnywas for Unique StudioREALLY is
the “high-jump”.Canyou imagine his
feelings? He was still at school only six LONDON’S MAGIC CENTRE
months ago . . then, under my guidance,
taken into theworld of the stars . . playing Visitors during thepast month haveinclud-
London’s top cabarets, B.B.C. and Com- ed famous comedian BobMonkhouse ( a
mercial Television (including two appear- great magic enthusiast) now appearing at
ances on the fabulous “SundayNight at the Prince of Wales Theatre in the Ameri-
the Palladium”) andnow . . . the first can comedy success “ComeBlowYour
English magician toappear ononeof Horn” which is directed by our old friend
America’s greatest. . THE ED SULLIVAN Cy Endfield(remember thefine card books
SHOW . . it was enough to make the stout-of his we published?). David Jacobs T.V.
.’
est of hearts quiver. First a morning run- and Radio’s favourite Disc Jockey and
through,thensameagain”intheafter- Compere, (always looking for “what’s
noon, before a live audience (an excellent new?”). Sitta inveryfrequentlyduring
idea, this) and finally the actual evening his recent runat Murray’s Club. He is
transmission . . He did a really grand job. most enthusiastic about our “TripleMilk
In fact,we already have some excellent Vanish” which he put right into his show
offers fromtop impressario’s there,asa . . he also enthuses about our new “Kuller
result of this one spot! Vision”. Rink one of ourmost popular
Cen contributors (overfrom Holland to
I must say that everyone connected with be “best man” at his brother’s wedding)
the show was simply wonderful.Partic-
spent manyjoyous hours here and incident-
larly kind and helpful was
ally he brought in a flock of new material
MARK LEDDY for the Gen. A very keen and clever
magician . . a gentleman it is a p,rivilege
one ofAmerica’s leading agents, whoI met to know.
some years ago and found to be a real magic
bug.Buthenever allows his love of BILLand POPPY STICKLAND
magic to cloud his good judgement. He
advised us to go to were the well-deserved guests of honour at
the British Ring Dinner, to mark 25 years
THE LATIN QUARTER of service by Bill as Hon. Secretary.Chair-
that night, before we left for home . . and man Peter Warlock (this year’s President)
I’m glad we did, for it is one of New York’s made an excellent speech of appreciation as
topspots. ..
Thestar of thecurrent show did Jeffrey Atkins Francis White (Presi-
Liberace, is a great showmanand I was able dent of the Magic Circle) Geoffrey Robin-
to point out to Johnny, things about his son and Elizabeth Warlock. Speeches
performance which could be helpful to him. at functionsso often are a
bore, but I really
In myopinion, it is an essential part of enjoyedthatlot. Bill and Poppy made
every performer’s training,towatch,as splendid replies to thenice things said about
much as possible, the shows of the great them . . it was most enjoyable. Fred Kaps
popular” stars and try and analyse what was star of the cabaret . . and it showed
“

makes them “tick” withan audience. Next the greatrespect in which Bill is held, when
morning it was up at the crack of dawn one realises that both Fred and Henk Ver-
for another fast flight home and meyden came over specially from Holland
334
for the occasion. Henk and Fred spent a My word, I’ve over-run my time . . so
pleasant couple of hours with us in the will finish by
Studio thenext morning, so you can watch
out for some new Dutch Tricks very soon! REMINDING YOU
It was nice to meet so many old friends at that this issue marks the endof Volume 17
the dinner, particularly Gen contributor ..
I’ll look forward to meeting you again
:; in the next volume. If you haven’t re-
WILF TYLER newed your subscription . DO SO NOW .
who insisted on buying us “the best in the . . and don’t forget to tell your magical
house” as a small token of appreciation for friends about us . . if we are to keep the
my having organised his appearance re- price at its present low level . . we have to
cently at a kiddies party at which Her increase our circulation . . so what about
Majesty the Queen was present and who it?
was delighted with his performance. Re-
sultant publicity (about seven National , all the best,
Newspapers andmany “locals”) made
Wilf an extremely happy man! HARRY.

A 100% MAGICAL SERVICE

FOR YOU !
HARRY STANLEY 14, FRITH STREET, LONDON, W.1.
.- 3 minuter from Piccadilly . . Leicester Squsre or Tottenham Court M,
Tube Station .-
Telephone - GERrard 5409
Callers please Note - Hours of Business - Weekdays 9 a.m. to 6 p.m.
Saturday - 9 a.m. to 4 p.m.

“EXCELLENT” . . said famous illusionist Milton Woodward when we showed him

the first model of ournew novelty production trick . . . .

CYLINDRO
You show TWO CYLINDERS (about six inches tall), to be empty. An immediate
production follows . . from thefirst, a “dry” load and from the second, a Tumbler Full
of Liquid, which can be drunk there and then!

You can use Silks, etc., for an orthodox production, but if you would like some-
thing “different”, may we suggest that the “dry” load should consist of say . . a Bag
of Crisps, Packet of Nuts, Biscuits, etc., then to “wash it down” . . a nice Glass of
Beer (yes, thereal stuff !) .

KIDDIES entertainers can first produce Sweets, or Ice Cream and then a Glass of
Orangeade, etc. You can do this oneRightAway. The Cylinders are made in
Metal . . the Tumbler is Plastic (no rubber covers used).

Price 25/- (post

and packing 2/6d.) USA. $5.00.

335
11 NEW FROM AMERICA . . .
q ;(
,. .’
LOU TANNEN’S 3i/[’‘
0..
4 ,l
C H A I N E DL I G H T N I N G
For mystery, the magical welding of Rings can’t be beaten!
This new outfit is a beauty and self-working in operation . .
it enables you, with the greatest of ease, to magically weld
separate Links of Steel into One Long Chain! Twelve one-
inchRings are used as “supportinglegs” for aneat box.
They are obviously separate as your wandtakes them off one
by one, then pours them into the box. They are next dump-
ed into your hand, tumbler or paper bag . . a waveof the wand
and presto! . . each ring has been magically fastened to the
other. You now have a long linked chain! D o it surrounded.
No angles or worries. You’ll amaze yourself. Comes complete and ready to
work right away.

Price f2. postage and’packing 3/-- ’ ’ ’ ’ U.S.A. $10.00.

0 AMERICA’S LATEST LAUGH-HIT . .

KRAZY-BEER-KAN
~-- ABeer Can placed on the table suddenly comes alive.
It staggers-Reels and Spins! One of the weirdest, fun-
niest things ever. A s used by Don Allen, Karrell Fox
and Senator Crandall. . it givesa million dollarsof laugh-
ter. Complete and ready to work right away.
Price 12/6 postage and packing 2/-

THE TRAVELLINGDISC
A startling effect. Three 24 inch wooden discscol-
oured respectively Red, White and Blue. A gaily colour-
ed Metal Tube 5 inches high is shown to be empty, then.
placed over the discs. Presto! the Red disc disappears
then re-appears in the performer’s pocket. You try this
once more, it disappears again . . this time it is found
elsewhere. The Red discisplaced in a handkerchief
only to re-appear under the tube again! You get the Discs - Metal Tube and
that little “something” that will vanish the disc from any handkerchief. Very
Easy to Do.
Price 17/6 (postageand packing 2/-)
11’
. .

336
 -.

OUTSTANDING
SUCCESS .... 11
KEN BROOKE’S ”COINS THRU TABLE“
Ken sez:- Gentlemen-here’s the complete word for word description of
the routine I have been using at the country’s leading hotels for the past few
years. NOT JUST A SINGLETRICK ! ! ! ! ! - BUT
“ A COMPLETEALL-ACTIONPACKED 7 MINUTESROUTINE ”.
If, and only if, you are willing to practice this for a few minutes each even-
ing, for a fortnight I, in return, will teach you a coin fantasy thatwill remain with
you always. It is something I use constantly for the simple reason that it can
be done under almost any conditions, even with them sat all around you. It
took me a long time to find a climax-but I found it and it’s right here for you.
Alone, this is worth pounds to any performer. All you require are a few bor-
rowed coins, a table and chair and you are “in business”. I don’t care what
you know about the trick, I‘ll teach you more and I’ll teach you how to sell it.
Let me make it clear :-
This is a manuscript only. You get no gimmicks, no apparatus. Don‘t buy
it if you are not prepared to learn and practice one simple move. If you will
give it a little time, then this may be your best investment for years.
Price - 7/6

a WOULDYOUL1,KE TO “TOP” THE ABOVE ? Then do as I do and use:-

”COINS THRU
THE
SPECTATORS HAND “

Strange as it mag sound, I am often accused of using trick tables

(althoughthey belong t o thehotel) when I perform the above. To
combat t h a t theory, I thenpasssix coins through a spectator’s
-
hand. For this I use half-pennies., dice and a small leather cone.
A beautiful outfit, forthe showing of a beautifultrick. What
happens
is simply that SIX COINS PASS THROUGH A
SPECTATOR’S HANDUNDERIMPOSSIBLE CONDITIONS !
Wesend you all t h e gimmicks plus a REAL LEATHER CONE.
It’s complete with full instructions and requires very little skill. Do
k them
i t anywherGA1wag.s ready-Set
make time. a long
in a second-A trickthat will
0
Price - 12/6 (postage 6d.) 0
’
l

a NOTE:“CoinsThru Spectator’s Hand” is acomplete Easy t o dotrick on its o m . . try it!

K O R A N ’ SM I R A C L EP A C K
You’ve seen Al’s show - You must have seen him have
someone look and think of a card in the pack. He names it
at once, without any fuss, sighting or bother. What you per-
haps don’t know is that it’s all as simple as eating pie when
you have Miracle Pack in your possession. For many, many
years a great favourite with Al, this can be yours for the
modest sum of 12/6d.
If you are interested in card tricks of any k i d , this is something you really must have. It’s a pack
with a thousand and one uses. You can do it five minutes aft- opening the package. Use it as A1 ,
does (as in instructions supplied) or, again if you play for laughs.
Price 12/6 Postage 6d. U.S.A. $2.50.
\

337
 KEN BROOKE’S FLASH
VANISHER
“Money doesn’t seem to last any time, these days” . .
says the performer as he tucks a Treasury Note into his
fist. Suddenly there is a FLASH at his finger-tips , . the
hand is opened . . the money has vanished!
This excellent gimmick will also Vanish a SILK (up to
18 inches in size). Non-electrical and cheap to run . . No
elements to re-place. 100% Sure Fire. Complete with
full instructions. No silks (or Treasury Notes!) supplied.
Price 17/6 (postage 1 /-) U.S.A. $3.50.

‘0 B Y S P E C I A L R E Q U E S T - - -
Since the world-wide acclaim given to the Super-Quality Bottles used in our
famous “Multiplying Bottles Trick”, we have been inundated with requests for
a set of special bottles of similar quality, for the Classic Comedy Trick . . .

PASSE-PASSE
BOTTLE & GLASS
A large Bottle and Glass are displayed and you state that simply by covering
them with Tubes (shown empty), they will mysteriously Change Places! This
does not work out as planned, but after aseries of hilarious manoeuvres, you are
eventually successful!
With our Super Bottles you get Ken Brooke’s great Comedy Routine, which
he featured for many years.
Price f3. (postage
and packing 3 / 6 ) U.S.A. $12.00.

PERFECTED
MENTAL
MASTE,RPIECE
This, oh so easy, mental card miracle is one of the best invisible methods for
ascertaining thethoughts of a spectator who thinks of a cardin an imag-
inary pack, makes a note of it on a slip of plain paper which he keeps, unseen by
the performer, who then opens a pack, picks out one card and places it in the
palm of the spectator.
IT IS THE MENTALLY CHOSEN CARD !
No guessing - fumbling or sleight of hand.
-
TWENTY separate startling effects : The ideas of Dai Vernon Sam Horo-
witz - Eddie Clever - Lou Tannen-Ted Annemannand others . . are includ-
ed in the instructions. Complete with full pack of 52 unprepared cards usable
for any purpose.
Price 12/6 (postage 9d.)

338
 i. AN “OVERNIGHT” SENSATION . . this has really set the boys talking!

FABULOUS
FEATHERWEIGMT
KING SIZE
L I N K I N G EkINGS

T W E L V E inches in diameter yet

THANKS to MODERN MATERIALS and MODERN PROCESSES
T H E E N T I R E SET weighs only a little more than a SlNGLE
‘‘standard”ring! ! Despite this . . .
These rings are Chrome Plated - tremendously tough - Sound like Bells in
action . . , and almost “Float” through the fingers in handling.
The IMPACT on the magicians was so strong, they flocked to buy them!
WE ARE WILLING TO WAGER
that never in the history of Magical Conventions have so MANY sets of rings
been sold in a single day!
UNIQUEKING SIZE RING SET consists of Six Rings . . . A Chain of
Three . . Two Singles and a Key Ring . . in other words “ The Dai Vernon Set’’
Ill Price &6/6/- (postage for box and packing 3,’-) U.S.A. $25.00. ~.

ADDITIONALRINGS -Singles 21/- U.S.A. $4.00. - 46 ~ ~ & l ~ p p

~

Il Linked) 45/- U.S.A. $9.00.

The Single Rings are ideal for use in the “Thumb Tie’’ trick
also for the “Penetrations” by a Silk with a Reel.

111 0 NEW
FROM
AMERICA
WATCH THE SPOT
You show a five inch by seven inch Frame and explain that you
are going to play a game of “Imagination”. Imagine t h a t you
see a WHIm SPOT in thecentre of the Frame-PRERI”O-a
WhiteSpotAPPEARS . . then VANISHES again. Watchthem
gasp as you apparently take the White Spot out of the Frame and
it turns into a White PING PONG BALL!
To continue the game of “Imagination” you tell the spectators
t o imaginein “Tec2~nicolour” - PRESTO! A COLOURED spot
appears in the Frame. Again you reach for the spot and it turns
into a COLOURED PING PONG BAL’L!! l’ha Visual appearance of thepingpong ballsisreally
startling. Here is a trick you canputintoyourprogramme irnrnediatnly. CompletewithFrameand
Ping Pong Balls.

Price 35/- postage and packing 2/6

 ED MISHELL, the famous critic of America’s leadingmagazine
“GENII” uses a system of marking to ‘value’ a trick. In the February, 1962 issue he reviews the
what he writes . . we quote verbatim.
..
following tricks . . he rates them Four Star Tricks which in his language is EXCELLENT! ‘l’his is

1 “LOU TANNEN has just released two more of AI, BAKER’S CLASSICS”.

AL BAKER’S
BALLS and GLASS
A tumbler is inverted on the table. There are Two Balls
on the bottom of the Glass-one Red and the other Black.
The balls are dropped into the glass. The glass is then
covered with a Silk. Spectator is asked to choose one of
the two balls, either the Red or the Black. This is an actual
choice. Magician snaps his finger over the glass and visibly
extracts the chosen ball from above the silk. The second ball then slowly rises

Thisisbeautifulto behold. Performerpulls a shglestrand

of ribbon a b u t a yard longbetween thumb and forefinger. The
hand is PALM to audience, so there is nothing suspicious in the
handling. Magician then doublesthe
ribbon
in half. SPEC-
TATOR cuts away the centre of the ribbon. PERFORMER
ties a b a t at the cut portion and the ends are trimmed away by
t h e SPECTATOR. TWOspectators hold the ends of the ribbon.
When magician blows a t centre of ribbon, the ribbon is FULLY
RESTORED,noknot, n o cut and the ribbon maybePASSED
OUT TO THEAUDIENCEFOREXAMINATION.
Price 15/- postage 1 /-

V A N ~ S H I N GR A D I O
TO LIVESTOCK
Onyourtable isseen a handsomePORTABLERADIOSET size..
eleveninches by sevem inches by fivaand-a-half inches ..
finished inRed
Leatherette.
S w i t d i n g on . . t h e set lights up. Anicely decorated wooden carrying
case is h v e r e d down over t h e radio set and INSTANTLY raised to disclose
a DOVE . . . RABBIT or MICE sitting there! The DOORS of the carry-
ing case FALL OPEN giving a CLEAR VIEW RIGHT THROUGH . the .
RADIO SET HAS VANISHED COMPLETELY !! !
Entirely SELF-CONTAINED .
. this is the CLEANEST and QUICKEST
VANISH *d TRANSFORMATION you have ever seen. EASY TO DO ..
YOUcan put this in your show RIGHT AWAY.
U.S.A. $40.00.