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Provenance
1st edition 1951, Magic, Inc.
CLOSE - UP TIME
WITH
DON ALAN
Don Alan (An Ed. Stech photo)
 CONTENTS
FOREWORD ....................................................................................................................... 6
IT'S FLASHY!..................................................................................................................... 7
CORNER RIFFLE FORCE BY TIMING ............................................................................8
A SUBTLE ONE WAY FORCE DECK .............................................................................. 9
THE INFLATION PENCIL ............................................................................................... 10
CARD IN THE EGG ......................................................................................................... 12
YOU HAVE WAX IN YOUR MATCH BOX..................................................................... 13
BREAD SANDWICH........................................................................................................ 14
KEEP YOUR "I" ON YOUR HAT .................................................................................... 15
BILL IN THE ORANGE ....................................................................................................17
STUCK UP CARD............................................................................................................. 19
ABOUT THE AUTHOR..................................................................................................... 21
KCAB SDROW ................................................................................................................. 22
BACK WORDS ................................................................................................................. 23

5
In 1951 Bert Allerton (1889-1958) was Chicago's leading close up magician, and was
performing nightly in the Pump Room of the Ambassador East Hotel. The foreword he
wrote to this book was partly in the form of a prediction, which by 1960 has already come
true.

FOREWORD
In my opinion, the young man who compiled this book will, in the not too distant future,
earn the reputation of being one of the greatest close up workers in the country.
Everything he does has a freshness and originality about it, if not in the trick itself, then
in the presentation and the patter.
The tricks in this book will, I am sure, prove that fact, and will be worthy of your serious
consideration. I am proud to be asked to write the foreword to this, his first contribution
to Magic Literature.

BERT ALLERTON

6
 IT'S FLASHY!
I have found this to be very good. It is definitely an eye opener and occasionally serves to
awake a few spectators who may have slumbered off.
You need: A sheet of flash paper about five inches square, three small sponges, and a
spool of white cotton thread.
To prepare: Squeeze the three sponge balls together and place in the center of the flash
paper sheet. Gather the four corners and stretch the paper around the balls so they are
caught tightly together in the center of the paper. Twist the four corners of the paper
together in the manner a candy kiss is wrapped. You should now have a small bundle
with protruding ends as in figure 1. Take a piece of thread and loosely tie around the ends
at X in figure 1. This prevents it from opening in your pocket. You are now ready to
perform --that is, if you can get an audience.
Place the prepared bundle in your left hand coat pocket, tied ends toward the front. Also
place a packet of matches in the same pocket.

To present: Borrow a cigarette. Most of the expense up to now has been yours, so always
borrow the little incidental things you use like cigarettes, twenty dollar bills, etc. Dive
into your left hand coat pocket with the left hand (the right hand doesn't work). Remove
the packet of matches, light cigarette and return matches to pocket. Naturally this is
where the dirty work comes in. Grasp bundle in left hand with ends pointing toward the
thumb and forefinger of your fist, which you should form around the bundle. Withdraw
left hand from pocket and immediately with right hand remove cigarette. This will help
serve as misdirection. Bring left hand fist over table, back of the hand up. You will see the
ends of the paper in the opening of your fist. Touch cigarette to these ends, and let flash
paper get a little start. Open fist and you will find a flash of fire, in the midst of which
three sponge balls have made their appearance.
You may wish to produce something else, such as currency, a length of rope, etc. Give it a
few trials. I know you will like it.

7
 CORNER RIFFLE FORCE BY TIMING
The title tells the story. A few trials will convince you of its simplicity, directness and
deceptiveness.
To prepare, take the card you wish to force and trim the non-index corners as in figure 1.
I use one of those snap finger nail clippers.
To use: Place force card into pack just above the center. Hold pack as for dealing, but
place forefinger curled under pack. This enables you to riffle left front corner with left
thumb to locate force card. Practice riffling to force card slowly. In performance as the
spectator to say the word "stop", as you riffle. Watch his face, not the deck. You will find
it very simple to time your force card with his "stop". As you reach the force card, timed
with his "stop", lift all the cards at the opening with the right hand, right thumb at the
nearest end of the deck, toward the body and the right second and third fingers at the
outer end, the index finger curling above the packet. Turn packet vertically outward
toward spectator, asking that he remember the card arrived at by his "stop". The card on
the face of the lifted packet will be your force card.

This may sound confusing in print, but in practice it is quite simple. Try it out with the
cards in hand.
Variations: You may immediately hand the pack out to be shuffled. When it is returned
just riffle the corner of the deck and locate force card.
You may also force card below corner short by offering a lower portion of the pack below
the break for selection of a card. Naturally you must know card below corner short,
before forcing. Using both methods you may force two cards. Then cut pack at corner
short and have one selected card on top, the other selected card on the bottom of pack.
Give this a try. In ten minutes you will be able to master this force. May you have good
forcing!

8
 A SUBTLE ONE WAY FORCE DECK
This deck is to be used when you want a sure fire force such as is needed for the Card in
Orange, Card in Balloon, etc. It is very convincing to the audience. Take a one way force
deck and remove fifteen cards. From another pack of matching back cards, take fifteen
indifferent cards and place on the bottom of the remainder of the one way force deck,
giving you a deck made of 37 cards all alike plus 15 indifferent cards.
To use, remove the pack from the case, turn face up and run ten or twelve cards, showing
faces of indifferent cards. Square up the pack, turn face down, and undercut one third of
the pack from bottom and shuffle on top of the pack. Thus you should have all of the
indifferent cards on top at this point. Fan the deck for selection, and have freely selected
card which you know to be your forced card.
It is not difficult to make sure that you keep the top fifteen cards out of their reach when
you are offering the deck for their selection of a card.
Note: For some reason, when you have taken portions from two different decks, put
them together and begin to shuffle, you will find that the pack automatically breaks at the
point where the portions of decks have been put together, so that in this case the deck
breaks without effort at the fifteen indifferent cards. Since no two packs are ever
identical, you will find this advantageous factor existing each time you fix up such a deck.
Try this force deck on any of your miracle type effects. You will agree it is beautifully
subtle.

9
 THE INFLATION PENCIL
This nonsensical (but actually smart) item may be used in many ways. It is used to
replace that old woofle dust, and is a much better excuse, since there is something
tangible involved. It will always bring a chuckle.
To make the pencil: go to your nearest novelty store and purchase a squirt ring. Make
sure the small rubber bulb is of good red rubber. Also secure a wooden pencil. Remove
the rubber bulb from the ring and discard the ring part. Take a pocket knife and carve the
eraser end as in figure 1. Cut off eraser and screw rubber bulb on the carved end. You will
find that the bulb will not come off the pencil without a hard pull. You now have your
Inflation Pencil. Funny looking gadget, eh, what?

This is my routine for using it. Place pencil in inside breast pocket or shirt pocket. Also
place an Ireland's "Fifty Cent Trick" gimmick loaded with forty five pennies over the belt
at your back left hand pocket. With a nickel (5c) finger palmed in the right hand, you are
ready to perform.
Request the loan of a fifty cent piece. Receive it with the left hand and transfer it to the
right hand with the nickel still finger palmed. Apparently transfer the half dollar to the
left hand, actually letting the nickel drop into the left hand, holding the half in the right
hand out of sight. Immediately reach into the inside breast pocket, leaving half dollar
and at the same time bringing forth the Inflation Pencil. Mention that "this is my
Inflation Pencil". (Show and squeeze bulb a few times). "If you place it like this (place
plain end of pencil into left fist and squeeze bulb) this is what happens."
Remove pencil with right hand and slowly open left hand, letting nickel drop to table.
Immediately drop left hand to your side and raise pencil up from table with right hand.
Say: "The pencil now contains the forty five cents." Turn to spectator at your left and ask:
"Can you see the forty five cents?"
At the moment of turning to him, steal the forty five pennies with the left hand. Bring left
hand closed up to the edge of the table as the spectator makes his reply.
You say: "Of course you can't see it, but if you want the forty five cents back all you have
to do is to put the pencil in the hand (place tip of pencil into left fist and hold fist so
pencil is sticking straight up, bulb on top) and just squeeze."
Squeeze bulb a couple of times, stop and squeeze again, letting pennies stream on to
table. Say: "Fifty cents in all", pushing all the coins toward the spectator who loaned you
the half dollar.
If you would rather not inflict that mass of coins on the spectator, wait a few seconds
while his friends razz him, then scoop the coins up yourself, telling him you'll fix the
situation up for him. Place all the coins in your pocket, and hand the spectator a small

10
drug envelope, (which contains a half dollar), and which is rubber stamped on the front
of the envelope
DON ALAN'S
INFLATION
NICKEL
Just have a small rubber stamp made at your local stationery store with your name above
the words: INFLATION NICKEL This makes a very cute give-away and is of no expense.
Try using the bulb pencil as a misdirection item in tricks like the cut and restored rope,
for getting rid of the knot. Use it in close-up work in the same manner you would use a
wand in stage work, and you will find it always a funny prop which the audience is most
curious to see, handle, and squeeze.

11
 CARD IN THE EGG
This is a funny gag which will fool the layman, and which has already caused more than
one magician to raise his eyebrows.
Buy some bouncing putty in any magic shop, the kind that comes packed in a plastic egg.
This egg is moulded so as to come apart at the middle. Put the bouncing putty aside and
retain the plastic egg. Get a one way deck, say the 7 of diamonds. You will also need a
miniature card, a black one, say the 5 of spades, and a regular card whose back matches
the one way deck, and whose face is the 5 of spades.
Take one of the 7 of diamonds and the regular 5 of spades, and with roughing fluid,
rough the back of the 7 of diamonds and the face of the 5 of spades. When dry, trim the
non-index corners of the 5 of spades as explained in the riffle force earlier in this book.
Place the 5 of spades on the roughed 7 of diamonds and put both cards into the middle of
the one way deck. Place the miniature 5 of spades into the shell egg and put it together.
You are now ready to perform.
Display egg and bring forth the pack of cards. Ask a spectator to call stop, and force the
corner short, as explained in Riffle Time Force. Show spectator the card and assemble
the deck. Automatically when you drop the packet with the 5 of spades on to the packet
held in the left hand, the 5 of spades will still be on the roughed 7 of diamonds. Lay the
pack on the table and explain that you will attempt to remove the spectator's card
invisibly from the deck and place it in the egg. Pretend to wave card from deck into egg,
then pick up egg.
Hold egg and drop it on the table so that the middle seam will hit the table, causing the
egg to pop open. As it does so, the miniature card flies out on the table. There will be a
giggle from the spectators as the card is verified. As this is done, you explain that you
don't really understand how the spectator could have selected the five of spades because
look! And you spread the deck on the table face up, showing all 7 of diamonds. Just look
at their faces when you do this and you will be rewarded. This has been one of my
personal pets for years. I hope you have as much fun with it as I do.

12
 YOU HAVE WAX IN YOUR MATCH BOX
This easy-to-make gimmick was designed for all tricks using wax, daub, diachylon and
similar materials which must be introduced secretly into the trick.
To make: Get a box of matches, drawer type, remove drawer and empty matches. With a
pair of scissors cut away inner right hand corner as in figure 1. This cut out portion
should be square. Now take cut off section B and trim off bottom. You will now have an
"L" shaped corner. Turn this around and Scotch tape it to the sides and bottom of drawer
A. You will now have a drawer as in figure 2. Place ten matches into left side of drawer
and put into outer box. You will now have a box of matches with a small pocket at the
inner right corner. The box can be pushed halfway open and look perfectly natural.

To use: Place a small amount of wax to the inside of the outside box, at the right inner
corner, so that the drawer can be inserted and yet the wax will not come in contact with
the drawer. The box may be carried safely in the pocket now, and by merely placing the
thumb in the opening, the wax is obtained. I usually take the box out, light a cigarette,
and when pushing the drawer closed, obtain the wax. It can be done right in front of
them, undetected.

13
 BREAD SANDWICH
The following effect is one of those funny gags, if done in an off hand manner. There are
two presentations. The first uses prepared slices and the second method uses any bread.
Both methods are practical.
Method No. 1. Secure a duplicate card to match the deck you are using, say the 5 of
diamonds. Also needed are two pieces of bread (rye bread lasts longer). Smear the back
of the duplicate card with rubber cement and press card on one piece of bread and let it
dry. When dry, turn slice over and put a small mark on reverse side of bread with a
fountain pen. This is so you can follow the slice with the card. Turn slice with card face
down on unprepared slice. Wrap in wax paper and place in pocket.
To present: During a series of tricks, run thru the pack, locate the 5 of diamonds and
proceed to force it. (See "Time Force"). Control card to top and palm off. Go to pocket for
sandwich, leave palmed card and bring forth sandwich, exclaiming: "You'll have to
excuse me. It's time for lunch." Unwrap sandwich and turn slices, so that ink mark is on
top. Separate slices, showing nothing between them, remarking: "This is the high cost of
living!"
Place slices back together and turn whole sandwich over, and start to take a bite. Stop,
and ask the name of the selected card. Upon hearing the 5 of diamonds, pause and say:
"Oh, my goodness, I almost ate it!" Place sandwich on table, take off top slice and the 5 of
diamonds will appear. The card may now be removed simply by taking the corner of the
card and lifting it away.
Method No. 2. A pack of cards and two slices of bread are all that is needed. Have two
cards selected and have them returned. Each spectator is to remember his card (this
often helps!)
Control one to the top and the other to the bottom, using your own favorite method. If
you don't have a favorite, try a very good one by Mario in Card Stabbing featuring the
riffle pass, published by Ireland. Place the pack face down on the table. Pick up a slice of
bread and show on both sides. Place on table. Pick up pack and place face down in the
middle of the slice of bread. Pick up another slice, show on both sides and place over
pack. You now have two slices of bread with a pack of cards between them. Pick up
sandwich (?) from table with the right thumb on top and the right fingers underneath.
Explain: "There are very few people with teeth strong enough to eat such a sandwich.
Besides, it is very bad on the digestion." Hold the sandwich with the right thumb and
right fingers, press down, pressing them together, and with a horizontal snap of the wrist,
the deck will squirt out from between the two slices, all but the two selected cards,
unknown to the audience.
Start to take a bite, pause, request the names of the selected cards, and reveal between
the slices, remarking as suggested in Method 1, that you almost ate them.

14
 KEEP YOUR "I" ON YOUR HAT
This effect using the standard pocket slates seems to have that certain novelty and always
entertains.
Effect: Spectator writes his hat size on one slate. Performer writes his hat size on the
other slate. Performer then turns his slate over and writes his name on the reverse side.
Spectator then writes his name on the reverse side of his slate. Performer then patters
about the necessity for watching your hat in a restaurant, different types of people that
come in public places, etc.
Performer turns his slate over with his name on it, and finds the spectator's hat size on
the reverse side. Spectator turns his slate over and finds he now has performer's hat size,
proving that it is impossible to keep your "I" on your hat.
To prepare: Obtain a set of pocket slates with a flap. On one slate write your hat size. Pick
a very small size and thus you will not have any fear of it conflicting with the spectator's
size. Next take the flap and write your name on it, first name or initials. Place flap writing
side down on slate with your hat size. Both slates may now be shown on both sides.
To present: Show both slates on both sides. Place slate with flap in front of spectator,
requesting him to write his hat size on slate. Keep your forefinger on slate as spectator
writes his hat size. This prevents flap from moving around while he is writing. When
spectator has written his hat size, take the chalk you gave him and write your hat size on
the remaining slate. This must be written the same as on the slate underneath the flap.
Now turn your slate over and write your name or initials, as previously written on flap.
Pick up spectator's slate and turn it over on to your slate. This will automatically transfer
the flap with spectator's hat size on to the top of your slate. Request spectator to write his
name or initials on the back of his slate. When he has done this, lift off his slate and place
on table directly in front of him. Request him to place his finger on top of the slate. The
remaining slate in your hand looks natural, as the flap is now on top with your name or
initials and your hat size on the reverse side of the slate. Show slate on both sides and
place under table, where you do the following.
Holding the slate with your right hand turn over on to the left palm. Lift slate with right
hand, which will leave the flap on left palm. Bring flap up over slate held in right fingers
and let flap slide on to slate. Finally give the slate a single turn and bring slate out from
underneath table. Slate will appear the same, as performer's name or initials appear on
top. Slowly call attention to the name and turn slate over. Spectator's hat size will appear
on the other side. Request spectator to turn his slate over and he will find performer's hat
size. A complete transformation.
Suggested patter: Have you ever noticed the signs on the walls in restaurants, especially
the one WATCH YOUR HAT? I'd like to show you why they put up those signs. Here are
two small slates. Would you, sir, write your hat size on this slate? Thank you. I will write
my hat size on this remaining slate and to identify my hat, I will write my name on the
other side. Would you write your name on the other side of your slate? That's fine. Now

15
would you keep your finger on your name and hat? Good. Now as you probably know
there are all kinds of people. For example, the sober, dignified type. Let's assume this is
you. (point to spectator with finger on slate, then pause) We're just assuming, of course.
And then there is the other type of person, the drunk, who is usually under the table.
(Here place slate under table). But it seems that it doesn't make much difference which
type
you are, because here - look at my name, and yet (turn over slate) YOUR hat, and you sir,
YOUR name and MY hat size.
So the moral of the story is, always keep your eye on your hat, but then maybe somebody
will steal your meal!
Note: To help in keeping the writing of the name and hat size identical, I scratch the
letters on the flap and the slate with a sharp pin. It is now quite easy to follow with the
chalk.

16
 BILL IN THE ORANGE
This easy-to-do method of the classic trick will always be effective to the layman; and
why not? It's his bill.
You will need some capsules. Go to your corner drugstore and have the pharmacist order
you one dozen veterinary capsules, size 12. These are large enough to hold a bill folded in
quarters and then rolled into a cylinder. The capsules will run you about $1.25 per dozen.
You will also need a three inch piece of dowel rod, 3/8" in diameter. With a pocket knife
trim one end of the dowel as if sharpening a pencil. Also secure four orange seeds and
place them into one of the capsules and put capsule together. I usually run a little
airplane cement around the joint so that it can't come apart. Now with one empty capsule,
one capsule containing the seeds, and your dowel, you are ready to perform.
Place dowel into your right pants pocket. Get an empty tablet box and put empty capsule
into it and place box in right coat pocket. Also in the right coat pocket put capsule
containing seeds.
To present: Borrow or rent an orange (this will depend on where you are performing).
Have orange examined and then place it into your right trousers pocket. When the
orange is resting in the pocket, get the dowel and with the pointed end puncture the
orange. Try to get this puncture near the bottom of the orange (that is, the part of the
orange opposite the stem end). Withdraw the stick and let it drop into pocket below the
orange. Now borrow a bill and have spectator mark same. Then have him fold it in half,
then in half again. While he is doing this, remove the tablet box and take out capsule,
putting box on table.
Take capsule apart, placing top in front of spectator. Hold the lower part of capsule with
your left forefinger and thumb. Have spectator roll bill into tube and insert into lower
part of capsule you are holding. Then have him put top of capsule over the bill. The bill is
now encased in the capsule.
Ask for the loan of a handkerchief and while you wait for it, pick up table box from table
with right hand and place in pocket, at the same time finger palming capsule with seeds.
Withdraw right hand and transfer capsule with bill in it to the right hand, being careful
not to expose finger palmed capsule. Take handkerchief with left hand and cover capsule.
It is now an easy matter to grasp capsule with seeds thru the handkerchief, and at the
same time finger palm capsule with bill in right hand. Lift handkerchief away from right
hand and have a spectator hold the capsule, supposedly containing the bill. Reach right
hand into pocket. Insert capsule into hole in orange and push it in as far as you can.
Immediately withdraw orange with your right thumb covering hole in orange.
Display and transfer orange over to the left hand. With the left hand now holding orange,
left thumb over hole, take a sharp knife and cut around the middle of the orange, as in
figure 1.

17
Be careful as you rotate orange when cutting it that you do not cut into the capsule. When
you have cut around orange sufficiently, turn orange so that the hole will be against table
or on a plate. Have spectator pull off the top of the orange. As the top is removed the
capsule will make its appearance.

Have it removed and have bill verified. Discard orange parts at earliest opportunity.
Suddenly remember that the other spectator is still holding handkerchief with capsule
under it. Have him uncover it and watch their faces. You will it is a novel ending for a
good trick.
Note: I usually secure a cheap plastic bag type tobacco pouch from the drug store and
trim off the flap. Before performing above effect, I pin the bag with small safety pins to
the inside of my trouser pocket. This prevents the pocket from becoming drenched with
orange juice. No matter how good the experts tell you orange juice is, it's no good for
clothing.

18
 STUCK UP CARD
Of the many thousands of card tricks that may be performed, the Card on the Wall (or
Ceiling) is by far the most effective and startling. It is the perfect finish for any close up
routine and I urge you to try my version.
Effect: The performer (you, of course) displays a few thumb tacks and a pack of cards.
Having a card selected by a spectator, magician has card returned to the middle of the
pack. Immediately the magician fans the faces of the cards before spectators, showing
that the selected card is not near the top of the pack nor near the bottom of the pack.
Carefully squaring the pack, without any moves of any kind, so as not to arouse any
suspicion, the magician requests spectator to place the point of one of the thumb tacks
into the deck, at the point where he thinks his card lies. Performer now has the name of
the card announced by spectator and immediately performer throws deck against the
wall (or ceiling) where it will be seen that the selected card is impaled on the wall by the
tack, as the rest of the cards shower to the floor.
What you will need: Get a pack of double face cards at your local magic dealer. They may
be had in two sizes, bridge or poker, depending on the size cards you use. Also a pack of
cards and a few thumb tacks.
To prepare: Take one double face card, say the one with the Queen of Hearts on one side
and the six of Spades on the other. Push a thumb tack thru the card from the face of the
six of Spades side, so just the point of the tack protrudes from the Queen of Hearts.
Take tack out and put a little airplane cement around the hole on the face of the card on
the six of Spades side. Now replace the tack and let it dry. This cementing prevents the
tack from becoming dislodged while the card is in the pocket.
When ready to perform, place card into left hand coat pocket with the six of Spades
facing the body. Place your small box of tacks into the right coat pocket, and you are
ready to perform.
To present: Borrow a pack of cards or use your own. Locate the six of Spades (which is
the example card in this case) and bring it to the top of the deck. Hold deck in left hand
as for dealing and reach into the left hand coat pocket for the box of tacks. Immediately
press double face card against face of deck and remove hand, remembering that the box
of tacks are in the right coat pocket.
Reach into right coat pocket and remove tacks. Open box and spill a few tacks on to the
table. During all this you are holding the deck in the left hand, face down as for dealing.
You will find the protruding point of the tack is not noticeable. Be careful not to let the
bottom card slide out away from the deck. Always keep the deck square. Now proceed to
force the 6 of Spades on top of the pack by the well known Slip Force. 1

1 p. 39, Marlo in Spades

19
Have card taken, remembered, and spread pack slightly and have card replaced. Slowly
square pack and immediately raise it, faces toward spectators and show that selected
card is not near the top of the deck nor near the bottom. Carefully square pack and hand
spectator one of the thumb tacks. Have him push the tack into the end of the deck,
wherever he thinks his card is located.
Now take pack in your right hand, faces of cards toward spectators. Ask the name of the
selected card and immediately throw the pack squarely against the wall or ceiling. The
chosen card remains firmly tacked, while all the others scatter and fall to the floor. The
risk of having the regular six of spades show up on the floor is so slight, it is nothing to
worry about. You will be picking the cards up soon, anyhow.
The fact that the six of Spades on the wall has a Queen of Hearts on its back doesn't make
any difference. I have never had anyone remove the card to examine it. However, I
usually take the precaution of throwing the deck up above anyone's reach.
The beautiful part of the trick is that you are actually done before you start. You are
always way ahead of them and there is nothing for them to see. This has long been a pet
of mine and this is the first time I have disclosed the secret. Do this one for your brother
magician. He may follow the slip force but watch his face when he sees that the card is
replaced in the center, and the pack fanned showing top and bottom cards. He'll go crazy
trying to figure out the moves that "ain't". Naturally you will use one double face card
each time you do the trick but the cost is so low and the effect so good, believe me, it is
worth it.

20
 ABOUT THE AUTHOR
Don Alan is one of our bright young men of magic - full of a fresh, youthful enthusiasm
that leads him to try things that are different. We said this about him in 1951, when this
book was first published, and it is still true.
Don was born Donald Alan McWethy in Norwood, Ohio, February 22nd, 1926; his luck
in being born there resulted in his becoming a student and protege of John Snyder, Jr.,
one of the great perfectionists in our field. For the late John Snyder, nothing was too
much trouble if it made the trick better. This he instilled in Don Alan.
Don spent most of two years in the Special Service branch of the Air Corps, after which
he attended the Chavez School of Magic in Hollywood. Upon graduation he became a full
time professional and has been ever since. He teamed with Billy Phillips to present an
outstanding double magic act at the 1949 Chicago Convention; and they played theatres
and night clubs with the act for the next two years.
In 1952 Don starred in his own TV Show for 26 weeks sponsored by the Bowman Dairy in
Chicago; and has done innumerable "guest shots" since that time. His forte is close up
magic and he went to work for that great master of intimate magic, Matt Schulien at
1800 N. Halstead St. Chicago.
In October 1956 Don married Jean Proffer, a professional ice skater; and in November
1956 he and Lee Le Roi bought the old Schulien place and renamed it the Don-Lee, and
operated it as a close up magic saloon until September 1957.
In July 1957 Don went to work five mornings each week, as Sir Dono on "Princess Mary
Hartline's Magic Castle" TV Show, continuing until Christmas 1958. Early in 1959 Don
went to Florida doing close up magic during the season at Miami Beach.
Kevin Alan McWethy was born November 18, 1957 and Don and Jean are expecting their
second child as we go to press with this second printing of "Close Up Time". Currently
Don has been doing TV appearances on the Playboy Show, club dates, lectures, and
working close up in The New York Lounge.
Don's second book "Pretty Sneaky" was published in 1956 and his third book is due for
completion and publication sometime during 1960.

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 KCAB SDROW
KCAB SDROW
Siht yam raeppa suolucidir, tub nehw I saw deksa ot etirw a wef sdrowkcab, I did. I ekam
ym gnivil gniod sgniht drawkcab - os rof em, ti saw ysae!
Won siht wollef m'I gnitirw tuoba sekam sih gnivil gniod cigam ni liatkcoc segnuol. I
flesym reven tih eht elttob -- uoy nac tuc flesruoy ekil taht!
Tub m'I yzarc tuoba aloc-ispep, ekoC, Pu 7, dna egnaro hsurc. Os nehw I og hctaw eseht
pu-esolc snaicigam, I t'nia yltcaxe tahw uoy llac a evil eno. revewoh, I knird erom zzif
retaw ni eht sortsib erehw Nod Nala si gnikrow, esuaceb I evol doog cigam dna taerg tiw.
Nehw I saw deksa ot etirw siht, ti desaelp em on dne -- dna s'ti gnimoc noos. Os uoy nac
tser derussa, fi Nod Nala setirw a koob no pu-esolc cigam, eh si llew deifilauq, esua ceb ni
ym noinipo eh si eht tsetaerg, htob sa esolc pu rekrow dna ynnuf nam. (Eisnod, nehw od
I teg eht kcehc?)
CARL BALLANTINE
(eht esuap taht sehserfer)

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 BACK WORDS
This may appear ridiculous, but when I was asked to write a few backwords, I did. I make
my living doing things backward - so for me, it was easy!
Now this fellow I'm writing about makes his living doing magic in cocktail lounges. I
myself never hit the bottle -- you can cut yourself like that!
But I'm crazy about Pepsi-cola, Coke 7 Up, and orange crush. So when I go watch these
close-up magicians, I ain't exactly what you call a live one. However, I drink more fizz
water in the bistros where Don Alan is working, because I love good magic and great wit.
When I was asked to write this, it pleased me no end — and it's coming soon. So you can
rest assured, if Don Alan writes a book on close-up magic, he is well qualified, because in
my opinion he is the greatest, both as close up worker and funny man. (Donsie, when do
I get the check?)
CARL BALLANTINE
(The Pause That Refreshes)

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