by

Patrick Page

Edited by
Matthew Field

Designed by
Michael Albright

Photographs by
Philip Pound and Cheryl Bell

Illwtrations by
Patrick Page
with
Dennis Patten and Eric Lewis

Patrick Page Magic Ltd.

www.PatrickPageMagic.co.uk
First Edition
ro98765432r

@ Copyright 2o1o-1r by Patrick Page Magic Limited.

All rights reserved. No part of this publication maybe reproduced or transmitted in any
form or by any means, electronic or mechanical, including photocopy, recording, or any
information storage and retrieval system now known or to be invented, without written
permission. All manufacturing rights reserved.

Printed by SS Media, 88 Sandy Lane South, Wallington, Surrey, UK

 Patrick Page
r7 March t9z9 - rt February zoro
Table of Gontents
Ranrdom Fonetlroughts, I5 (and two variations), 97
Ted Danson's Diary Trick, 96
Editor"s P?eface,29 (and two variations), 97
The Ultimate Variation: Old Moore's Diary,99
Chapter l Ca^nds The Four Packets, 101
The Four Packets, Part z,l02
Cards to Pocket,36 Coincidence, 104
The Continuous Do As I Do, 40 At a Number, 105
An ImpromptuVanish,42 The PaPa System Plus Si Stebbins, 106
Beyond Coincidence,44 The Estimated Cut, 108
Patrick Page's Card in Wallet, 46 Opportunism, 109
One, T\ro, Three, It's Yours, 51 Think A Card, ll1
Heba Haba Ma$c,52 Guesstimation, 112
The Davenport Deception, 54 Name a Number, 113
The PrincESP Card Trick,56 And Again, 114
Three Cards Across, 58 The FaroflVeave/Butt Shuffie, 115
Princess Quatro, 59 Avoiding the Peek, ll5
Peg It,60
Jumbo One in the Middle,62 Chapter3Hns
The Ever Change Card,62
BigMoneyAces,64 No Lap Coins Through Table, 118
The Top Change,66 The Baker Move, 119
The Unknown Soldier's Card Trick, 70 Han Ping Chien, 121
The Multiple Colour Chatge,72 The Big Coin Production,t24
The Pageboy Card Switch, 74 The Complete Coin Miracle, 126
Spellbound Climax,l2T
Chapter z The Staclred Dech The Pull Back Coin Vanish, 128
A Coin Interlude, 130
The PaPa System, 78 A CoinVanish, 132
Things You Should Know About a Stacked Deck, 81 The Sleeve Dropper, 133
Handling a Stacked Deck (False Shuffies),82 Applications, 134
Revelations,84 A la Malini, 135
Other Revelations, 85 Coins Coins Coins, 136
Stabatwin,86
The Face-Up Revelation, 87 Chapter 4 Tlre Mlset's Dnearn
Multiple Revelations, 88
The Probe,90 Introduction, 142
Pocketed Cards,9l The Bucket and Coins, 143
The Fernande z Miracle, 92 A Money Act?, 145
Calling the Cards, 93 The Necessary Sleights, 145
The Pocket Card Index (and two variations), 94 The Right Hand: The T. Nelson Downs "Palm", 145
 The Classic Palm, 146 The Rope Rope Rope Trick,2o4
The Thumb Palm, 146 With a Thumb Tip,205
The Pull Back,l47 With a Pencil, 205
The Drop Plus Finger Palm,l47 As a Producing Agent,2O6
The Back Clip,147 For the Platform Act, 206
The Left Hand, 148 Smaller'n' Smaller, 207
The Basic Routine, 148
Coin Holders, 149 Chapter 6 l)ealers' Dettghts
In Lieu of the Coin Holder, 149
Performing "Business", 150 Easy Money, 212
The Effect, 152 One in the Middle,2l9
Patter, 152 The Colour Changing Jumbo, 222
The Chanin Coin Production, 152 The Golden Girdle,223
Variation on the Chanin Theme, 153 Cord-A-Cup,224
Additional Comment, 153 Acrobatric,22S
Brainchlld,229
Chapter 5 Miscellaneous: Sponge Balls' Rope' Silks' etc. Copycat Cards,230
The Multiple Revelation, 230
The Opener, 156 The Fifty-Fifty Car ds, 231
Giass of Liquid Production, 157 Double Mirage, Part r, 232
The Sponge Ball Routine, 158 Double Mirage, Part 2,234
The Bowl Routine, 164 T\ro Methods, 234
The Sleeve Dodge, 169 One More Time,235
The Purse Frame, 170 Repeat Flag Production, 236
Burned & Restored Bill in Wallet, 175 Patrick's Hatrick, 238
The Ten Second Paper'Iear, L76 AHandful ofMagSc,24o
Gags for The Ten Second Paper Tear, 178 Chameleon Clown,242
Colour Changing Handkerchief, 179 The Invisible Chicken, 244
Bare Hand Silk Production, 180 Topsy Turvy Candle,246
Dying the Silks, 181 Money Bag,248
One More Torn and Restored Paper, 184 Clink Coins,249
A Thumb Tip Tip, 186 oooooRANGE ?,250
The Al Koran Thimble Routine, 187 The Mini-Money Miracle, 251
Lighter Thru' Table, 188 The Big Four, 252The Noddy Handkerchief,254
Tambo Tambo, 189 Funny Bunny, 256
The Borrowed Finger Ring, 192 HankyPanky C1oth,257
The Purse Switch, 195 Patrick Page's Ringsti ck, 260
The'Pageboy' Ball Vanish, 197 The Brainbuster Deck, 262
The Cut and Restored Rope, 198 CashCatch,264
The Everlasting Cut and Restored Rope,200
Three To One Rope Trick,203
Chapter 7 The Topit From Down Under,286
The Portable Cow,286
History 268 The Shot Knot,286
Topit Technique,2TO Smoke Smoke Smoke,286
The Left Arm, 270 A Cigarette Tkist,287
The Right Arm, 271 Expensive Prop,287
The RightArm,Paftz,272 No Smoking,287
The Toss,273 The Buttonhole,2ST
TheVisible Switch,274 The Vanishing Handkerchi ef , 287
The Hidden Switch,275 Sock It,287
The Deck Switch (r),275 The Legend,287
The Deck Switch (z),275 The Acrobatic Glov e, 287
The Card Stab Switch,275 The Flash Box,288
And One More Switch,276 The Egg Trick,288
Another Versior,,276 Missing,288
Other Applications of a Handkerchief, 278 H.GWells Outdone,288
Vanishing Cane in Newspaper,278 Striking It Lucky,288
God Bless Cardini,288
Chapter 8 Patnick Page's Comedy Maglc A Tissue Of ... ?, 288
Tale ofa Fish, 289
Introduction, 282 Jay's Tale,289
The Magic Box,284 A Con Trick,289
The Vanishin g Bir dcage, 284 The Vanishing (?),289
The Vanishin g Apple, 284 AnotherT&RPaper,289
Val's Opener,284 The BreakawayWand,289
Tearing itUp,284 See the Pretty Thing, 289
An Alternative, 284 The Blinking Rings,290
The Handyman,284 The Electric Deck (Again),290
Meeeoooow,284 A Feat of Magic,290
Arrivederci Ma$c,284 Spots Off,290
Colour Blind,285 A Sticky MomeLt,29O
A Colour Change,285 A Hat Trick,290
The Electric Deck,285 Billy's Thimble,29l
A Flashy Gag,285 Up Up Up UpUp,29l
Sharp as a Ihife,285 Cue for MagSc,29l
A Flaming Candle,285 That Rope "lrick,29l
Whipcrackaway, 285 Another,29l
Bang Bang,285 The Indian Rope Trick,292
Attraction, 286 Wanderful,292
A Prediction, 286 Home James, 292
Windy (Bob Ostin),286 Half and Half,292
Smoke Gets Everywhere, 286 The Eye Card"Iick,292
Wrong Card Right Card,292 Chapter 9 Misdirection
A Table "lip,292
Ooooooohh!,293 A Ball Vanish, 306
Alother Ooooooohhl, 293 Card Under the Ashtray, 307
APlate,293
The BoomerangCard,293 Chapter to Now They See It
Name A Cardt,z,293
Name A Card3,294 The Vanishing and Reappearing Saucer, 311
The Card [s,294 The EarlyVersion,3l2
The Windbag,294 Card on Forehead, 312
The Diminishing Handkerchief , 29 4 Clayton Rawson, 314
ADodgyRope randz,294 Which Hand Is It In?,315
The Cannonball Illusion, 294 Ditto,316
All Seeing Blindfold, 294 On the Back, 316
BabyBaby,294 Bonus Genus,316
Bloomer?,295 Arother Vers\on,3l7
Milk?,295 With a Balloon,317
Smoke Signals,295 Dr. Giovanni's Card on Back,3l7
Breakaway Props: Wand, Spoon, Gun, Fan, Box, Etc., 295 Paper Balls Over the Head, 317
Just a Thought,296 The Egg Bag, 318
Bre akaway Br eakaw ay, 29 6 The Vanishing Liquid, 318
It's My Turn Now, 296 TVro Variations,319
Rabbit, Where Art Thou?, 296 The Pitchman Routine, 319
Card in Wallet, 297 Six Inches More,319
A Green Pair,297 The Eye Chart,319
Obedient Cards,297 This is the Big Time,3l9
The Flat Rabbit,297 The Coin Vanish, 320
The Baby Gag, 298 The Knotted Handkercheifs, 320
Hanky Panky randz,298
Dowler's Rings,298 Appendix
A Coin Trick,298
It's Handy,298 The Magic Circular lnterview
Good Evening,299 with Matthew Field, April 2oo7,324
Pocket Ma$c,299
A Hole inOne,299
Blank Him,299
Sleightly Differ ent, 299
Bigger?,299
Smaller?,299
Comedy Props, 300
 Many of Patrick Page's tricks and manuscripts,
plus photos and other material can be found on the Internet at:

rnrnr.PatniekPageMagic.co.uk
 Random

Most books I have read over the years I have no ego. Therefore, I don't need wealth and riches that could emanate
have started with a Foreword, usually a foreword written by another person. So from this literary effort.
written by someone other than the au- I'm going to have one written by me, and I think that it is an inbuilt desire to
thor. This gives them the opportunity to this is it. help others. I really mean it. There could
tell the reader how wonderful the author Why am I writing this book? A good be an element of show-off in there,
is, plus a little ego trip for that particu- question that has no answer. I really don't because magicians love to let others
lar writer, particularly if the author is a know We all know that it isn't for the know that they maybe know a little more
well known name in international magic money. I have gone past four score of than they do. But I don't think so. Dale
circles. years and have no real need for the great Carnegie said in Hora to Win Friends and
Ali Bongo, Patrick Page, Tony Corinda, Dick Chavel in Chavel's magic shop, mid-r95os

Inf.uence People that one of the great com- know it isn't true, because I have writ-
pliments that you can pay someone is to ten other books without the need for this
ask them for their advice. Having worked preamble.
in several magic stores over the years, I Among my favourite books are the ones
found out that is exactly what I was doing, that describe programmes of magicians,
giving advice to all and sundry on a daily and there haven't been too many books
basis. The habit stuck, and this book is of this type-six or seven perhaps. The
probably the result, and having said that, I problem with them was that all they did
was list titles of effects. I would dearly (especially those who have gone before)
have loved to know exactly what they did. performed in their act, and that is what
Amold Furst did a little better with his you are getting in this book-the actual
illustrated programmes of magicians, but tricks that I made a living from. Because
it was still a little frustrating not knowing my living from performing magic was
exactly what had been happening. spread over a long number ofyears, there
In short, I know that magicians want is a lot in there, and there is also a lot that
to know exactly what other magicians I have left out.
 For more years than I can remember,
I closed my act with the Chinese Rings,
but I have not included my routine here.
There is a reason. Over the years there
have been a number ofroutines pub-
lished, and I was once asked if there was
such a thing as the deflnitive routine for
the Chinese Rings. The person asking was
trying to point me in the direction of one
particular routine. My answer is, no, there
is no definitive routine for the Chinese
Rings, and I think that I can explain why.
The trick has, of course, become a clas-
sic of magic and provided it is performed
reasonably well it will always look good
to a lay audience, and will always look the
same to all audiences. Yes, that's what I
said. Provided that it is performed reason-
ablywell, the effect will always look the

t8 FoRETHoucHTs
same to all audiences, irrespective of the
actual routine, or whether you use any-
thing from three to eight rings.
I think that this rule applies to many
of the classics, some old, some modern.
The Egg Bag will always look the same no
matter what routine you use, provided
that the performance is up to scratch. The
same appiies to the Cups and Balls.
I wili never be able to count the
number of kid's shows that I have done,
but I have deliberately omitted kid show
routines, although as I write, I think that
there may be just one in there, and the
reason would be that I also used it for
adults with the assistance of a kid from
the audience. I tended to do the same
effects for kids as I did for adults, and
added a few more items like the Chame-

t9
Alan Alan, Fergus Roy

Ieon Clown, Run Rabbit Run, etc. as one not enough material for a book, so I have
usually had to do a longer time for kids. included it here.
Once in a while, I added a short vent rou- The Comedy Magic section speaks for
tine with a clown vent doll at the end. itself, but I will add that I have actually
Now They See It was an idea for book performed most of the bits at one time or
suggested by Chris Woodward. I already anotherjust to prove to myselfthat they
performed a couple of effects in this were practical. There are a few items in
category and started collecting others. there that are original with this writer.
After a while, I realised that there was There is a section on Topit, plus some-
 Blelry Ps*rc
a0tEour-c0,PcrE
[email protected]
Pla,
l.tt.trltl

lrrrrl A l.fiti
.aotEof .

1.c.1
laprottlctt RICKY t
PAGE
N.Tlarl parsoerlil!

There is a sort of section which utilises

the clothes that one is wearing, with
emphasis on the pockets. There are a few
card routines, most of which have been in
my repertoire forever. Plus there are a few
coin bits. It has been the fashion in recent
years for magical writers to explain, in the
greatest detail, all oftheir best material.
Well, in this book, you have probably the
best and worst of Patrick Page. It is a
complete mishmash of what I have been
thing that I have called Dealer's Delights. doing for the last sixry years.
This is a few of the items that I sell. I have The Stacked Deck is probablythe item
not included any of the items that I have that I have been performing the longest,
devised for other performers' acts. I think and over the years I have tried almost ev-
that it would be unfair, as a few of the erything possible with what I tend to call
performers are still using them. a regular stacked deck. It has stayed in
I must add that there are more than a the act come hell or high water, for both
few performers using them who are not close-up and stand-up situations. One
entitled to use them. thing not mentioned is that quite often in
THE tI_
MACIC CilRCULAIR

1," ,,!'l,x,,i;" 4 7i" ,'ll"u;, C;",1"

 TOS ANGELES
CHICAGO
Hor.ffwmD
]HO-TAND
SWEOEN
GlllSmArTl
llllltAil
sllslsE
TUIIAMI

Mxtnl
Shour

a close-up situation I would perform a few nature, it completely destroys any notion it here because there are a few original
card effects with the stacked deck, but not that the spectators may have about an items in there and I hope that one day I
utilising the stack, retaining its order. I arranged deck. They know instinctively will teach the routine to some of you up-
am not quite sure why. Maybe it gave me a that they are watching a sleight-of-hand and-comers.
feeling of superiority or something. expert.Forthe last fewyears, I have been
One ofthe bonuses ofthe stacked deck closing my act with what I call a "Clown
is when you add in a classic force, a top Bit". Developing this routine has become
change, a palm or other sleights of this a sort ofhobby and I have not included
Paul, Pat and Debbie

24 FORETHOUG}TTS
FORETHOUGHTS 25
 Somewhere along the line, I got a silk handkerchief and printed on it was The monev for stag shows was reason-
invoived in performing at all-male stag a Chinese gentleman with two large tea abl,v low, but the good thing was that
shows, mostly at football (soccer) and chests. This was placed into a mirror there were a lot of them. We were work-
rugby clubs. glass, and when it was eventually removed ing practicallv every night and doubling
At that time, I knew of only one other the tea chests were still there but the Chi- at u,eekends-in Working Men's clubs,
magician performer working those ven- nese gentleman had vanished. At which British Legions, Ex- Servicemen's clubs,
ues. His name was Biliy Kendal and he point Billy retorted, "God blimey, the and Facton'Social clubs. There were also
was a real character. China man's fucked off". This is a typical bowling clubs, gardening clubs, photo-
One thing that stands out in my example of the humour that was used on graphic clubs, theatre groups etc. They all
memory from his act was where he had those shows. had their annual shindig with a stag show

26 FoRETHoUGHTS
 we were waiting and ready. Patrick Page
-and London
Finally, I note that our worthy editor January zoro
Matthew Field, to whom I am supposed
to be grateful (thanks, Matt) has included
material from a small booklet entitled
The Purse Frame in the present tome.
This was another unsuccessful attempt to
educate the initiated.
 fditor's Prcfacc

I finst met Patrick Page at one of The conversations during those car rides. Pat his life made the book important and he
Magic Circle's Monday evening meetings knew more about magic than anyone I asked me if I would help him write it.
in London. had ever met, and his frank appraisals of To get started, Pat invited me to his flat
We became friends when he found magicians and ribald tales were priceless. near Camberwell Green in London. The
out that I knew the legendary New York One evening about six years ago I asked flat was an amazing trove of magical trea-
magician Bobby Baxter. Pat knew mY him if he had thought about writing a big surers: posters, commemorative plates,
knowledge of magic was quite extensive. book of magic for magicians. I knew he DVDs and videotapes stacked on the floor,
In addition to editing The Magic Circle's had written the book of Albert Goshman's and pieces of apparatus in various stages
monthly magazir,e, The Magic Circular, magic and the fine BigBook of Magic. of construction or repair. I was in a wiz-
I've edited over 70 books on magic and To my delight Pat toid me he had been ard's den, and I was in heaven. He handed
written video reviews for Genii magazine. working on a book for some time. I was me a shopping bag full of manuscripts
However, my friendship with Bobby Bax- busy with the magazine, and my motive and told me to edit them for content and
ter was what clinched our relationship. I for the question was to try and ensure accuracy. I asked him if he might, per-
asked Pat if he would write a column for that Pat's knowledge would be passed on haps, have these as computer files which
the Circular and he agreed, although he to future generations, not to get involved would be easier for me to work with. This
would write only a few. myself. request was passed on to his son-in-Iaq
Sometimes, after the Circle meetings The book project took on some ur- Philip Pound, who kindly delivered much
Pat would drive me to Victoria Station gency when in zoo7, at the age of 78, Pat of Pat's writing in the required format.
so I could catch my train home to Kent, was diagnosed with incurable cancer. The Pat had decided to publish the book
where I then lived. We had some amazing knowledge that he was nearing the end of himself and draw the illustrations and,

PREFACE 29
although I raised objections, Pat was and radiation treatments. Someone had company of this great man, who never let
adamant about self-publishing. He did recommended a holistic remedy - broc- his illness affect his positive outlook on
concede that the drawing might be too big coli juice, which Pat had been squeezing life or good humour. I was continuing to
a task, so I suggested photographs. The and drinking. The fact that he felt better see him regularly, but Pat now tired easily.
photos, almost r5oo of them, were taken meant that the boring task of working on At one of our last meetings we were able
by Philip. the book moved into second place-af- to review 3oo of the photos which Philip
On my frequent visits to his flat we ter everything else. I continued to visit had taken and briefly discuss what to
developed a routine: Pat made lunch Pat once every two or three weeks, and do about the rest of the material which
for the two of us, then we got down to reminded him about the book, to no avail. needed illustrations.
business. Pat gave me material he had He travelled to Los Angeles and The Mag- Patrick Page died on u February zoro,
written and he would perform some of ic Castle to receive their highest honour, five weeks shon ofhis Srst birthday.
it, after which we would discuss it. Some the Master's Fellowship of the Academy At his funeral on r March at London's
weeks later I returned the edited manu- of Magical Arts, he went to the Fechter's Golders Green Crematorium, I pledged
scripts to him for his review, and he often FFFF convention in New York to conduct to Janette Page that I would finish Pat's
said he had been thinking about things his regular seminar, he lectured in France, book and see to it that, somehow, it would
and there was some material he wanted Sweden and Spain and performed regu- be published.
to add, sometimes handing me another larly at Simon Drake's House of Magic
shopping bag fuII of manuscripts. This and the Brick Lane Music Hall, both in
was to be repeated several times over the London, as well as at several Magic Circle About ttreBootr
two years I worked on the project. I told events. His children, Janette and Jer-
Pat that what he seemed to be writing emy, threw Pat a surprise 8oth birthday So...what is in this book? The short
was an encyclopaedia, but he reminded party on 16 March 2oo9 at the Brick Lane answer is that it contains everything Pat
me that it was his book and he was the venue. Pat came on stage to do his act and wanted to be in it. A more informative
publisher and he could do any damn thing when he peered across the footlights he answer is that it contains material from
he wanted to. saw more than a hundred of his friends the small booklets which Pat wrote and
Who could argue with that logic? gathered to celebrate this remarkable published himself to sell at his lectures
man. Thenthe effects ofthe cancerbegan and dealer tables. These booklets are
After a year ofworking on the book, to cause Pat to begin the long decline that often very difficult to find, as they were
Pat's health seemed improved. He had would lead to his death. published in very limited numbers. The
been through radical surgery to remove Suddenly, the book became a high items were selected by Pat because he felt
a tumour, plus having chemotherapy priority. It was inspirational to be in the they deserved a more pennanent home.

30 PREFACE
 Also in the book are original items that of proficiency working in every type of The editor wishes to thank Janette Page,
Patwrote specifically for this volume. venue. Jeremy Page, Philip Pound, Cheryl Bell,
there are also pieces that appeared only I am grateful for having had the oppor- Richard Kaufman, Karina Manninen, John
in magazines, here rewritten, such as his tuniry to call Patrick Page my friend and Carney, R. Paul Wilson, Gordon Bruce,
PaPa system for the stacked deck which for being able to finish this, his magnum Alexander De Cova, The Magic Circle
he originally wrote for Genii magazine opus. Archives, Dennis Patten, Lionel Russell,
Finally, there are several items which Mike Gancia, and Michael Albright for
were transcribed from videos Pat made their generous help. Special thanks to R.
with Vic Pinto and Lionel Russell as part Matthew Field Paul Wilson and Andrew Webb for proof-
of their Trik-A-Tape series. Hastings, East Sussex reading this material.
The illustrations come from those September zon
small booklets mentioned above, il-
lustrated by Pat himself and by Dennis Pat's family has set up a website to ensure
Patten, who lovingly gave his permission that his ffects remain available to magic lor
to have them appear here, and Eric Lewis ers everywhere. In addition, you'll find photos
and others. There are the photos taken by of Pat and other material of interest.
Philip Pound, and scanned photos from
the material which accompanied the origi- Vrszt www.PatrickPageMagic.co.uk
nal Trik-A-Tape series ofaudio cassettes,
plus some screen captures from a Trik-A-
Tape video cassette.
obviously, the quality of some of this
material suffers because ofthe poor
quality ofthe original sources. For this I
apologise, but Pat left us too soon.

It is my sincere belief that the material in

this book is a good representation ofthe
extraordinary magic of Patrick Page, and
that the material itself will be of inesti- Thonks
mable value to performers of every level

PREFACE 31
32 CARDS
CARDS 33
This was one of the first effects I performed One odd faet, of no great interest really, routine separately as a manuscript, with-
way back when. I did the standard version, is that although I performed the more or out consulting me. A little later, I put it on
thanks to Hugard and Braue's Royal Road less classic version of this effect many video and explained an alternative climax
to Card Ma$c, and a little later I read some- times in my early days, I had never actu- that I had devised. What I am going to do
where that this effect couldbe used to judge ally seen the effect performed, and as I now is explain the original routine, then
a card magician's competence, both as a write, I realise that the same can be said explain a couple of alterations I made
magicinn and as aperformer. ln short, if you ofthe Cups and Balls. I got that from a over the years, one ofwhich shortens the
could perform this effect well you could hold book, and did it for a long time before I routine and the other gives it an extra
your head high in any cornpan!. I have never actually saw it performed by someone kick at the climax - from which you may
been able to hold my head wry high at any else. gather that I like this trick.
time in my life, but I jurnped at the challenge The routine I am about to describe was The effect is that you have twelve cards
and dwised my own routine, setting mltself first published in 1953 ir,the Gen Maga- which you count openly, and an empry
up to be shot at on three different counts, as a zine,whichwas the house organ of the right trouser pocket. The pocket is pulled
magician, a performer, and originator of his Unique Magic Studio in London, operated out to show that it really is empty. The
own take on a classic piece of card magic. by Harry Stanley, and later it was repeated cards are now made to disappear, one at
in one of the books he published, Lelurs a time, and reappear il that very same
Ganson's Routined Manipulation Finale. trouser pocker That is a description of
Still later when the Supreme Magic Co. how the effect is generally performed, but
apparently bought the rights to all the I have altered the method considerably,
Unique publications, they released the to, perhaps, make it more entertaining,

36 CARDS
and provide the effect with a definite and we will dMde into two parts> the apparent shown that the pocket is empty, you reach
more obvious climax. vanish ofthe cards from the hands, and in and produce a card, it follows that the
You will need twenty-one cards. These their reproduction from the pocket. The spectators will assume that it is the card
cards should consist of twelve indiffer- apparent vanish of the cards is accom- that has just vanished from the left hand,
ent cards, three Queens, three Aces, and plished by means of a Buckle Count which especially ifyou point out that fact.
finally three duplicate Aces. You will also is a false count devised by Dai Vernon to What happens in the performance is
need, in your trousers on the right side, enable you to count a number ofcards as that you remove the twelve cards from
a double pocket, which is more or less less than the actual number. Ifyou count the top of the deck without disturb-
exactly the same as a flat change bag. The twelve cards openly, and then count the ing their order. They are held in the Ieft
preparation consists of placing six indif- same twelve cards as eleven cards, it will hand, out from the body to the left, with
ferent cards and three Aces in the rear seem that one of the cards has vanished. the backs ofthe cards showing. The
section ofthe double pocket, all cards Ifyou now count those same twelve cards right hand approaches and the cards are
facing inwards, with the Aces at the rear, as ten cards, it will seem that a second counted from the left hand into the right,
nearest the body. card has vanished. This is repeated during one at a time, to show that there are
The remaining twelve cards are ar- the performance to make it appear that twelve cards, and as this is done the order
ranged as follows, on top ofthe deck, the quantity of the cards has diminished. ofthe cards is reversed.
from the top down: Four indifferent cards, We will describe the handling of the The right hand trouser pocket is pulled
three Queens, one Ace, one indifferent Buckle Count later. out to show that it is empty. This is, of
card, two Aces and one indifferent card. The reproduction ofthe cards from course the outside pocket only. The cards
So let's get down to the method, which the pocket is obvious. If, afteryou have are now "vanished" one at a time by

CARDS 37
means of the Buckle Count. It may help, will show that there are three Queens the second, third and founh fingers at the
performance-wise, if you riffle the corner only, which you discard. You now reach lower long edge. The forefinger is free.
of the packet with the left thumb, just into your pocket and produce the three You are now about to reach into your
prior to counting the cards each time, say- Aces one at a time, naming them as you pocket to produce the three Aces one at
ing as you do so, "Did you hear that one do so. End ofroutine. a time.
go?" In counting the cards they are always A few points we must mention. It is Bring out the first Ace and place it in
counted one on top of the other, from the advisable to use some sort of container the left hand in front of the packet, but
left hand into the right, so that their order into which the cards are dropped as you not against it, and projecting half its
is always reversed. produce them from the trouser pocket. It lengh beyond the far end ofthe packet.
Although we have said that the cards could be a hat or box, or other prop which Now reach into your pocket and bring
are vanished one at a time, it doesn't actu- you already use in your act. Another point forth the second Ace, which is also placed
ally happen that way in this particular worth mentioning, just in case someone into the left hand, but projecting half its
routine. What takes place is that the first hasn't realised it, is that the method of lengh at the inner end of the packet. As
two cards are vanished and reproduced counting the cards all through the routine this second Ace is placed into the left
singly, but the next two cards are van- must be adhered to rigidly. hand, the whole packet ofcards behind
ished together. The number of cards in Throughout the routine, the faces of the Queens is stolen in the thumb crotch
the left hand appears to diminish from the cards are never shown until you turn ofthe right hand. The tip ofthe left fore-
twelve to eleven, to ten, and then to them to show the Aces and Queens. The finger can assist in this action by pushing
eight. When you reproduce them from routine has been devised so that, towards the packet in the right direction. There
the trouser pocket, you bring two cards the end, you will actually finish up with must be no hesitation. You place the
out together. Another two cards are now those six cards, the Queens and Aces, and second Queen in front ofthe packet and
vanished together and reproduced from they are in the correct position to vanish the right hand returns to the pocket im-
the pocket. the Aces. Ifthe counting ofthe cards goes mediately, taking the packet of cards with
At this point you apparently have six halurire at any time you will probably fin- it, concealed in the palm. Once inside the
cards in the left hand, but in fact you ish up with a different set of six cards. pocket, the packet ofcards is deposited
still have twelve cards. To speed things One very last point. At the end of there, and the right hand brings out the
up a little, you suggest that it will be the routine you apparently give them a third Ace.
quicker ifyou only use three cards, at choice, the Aces, or the Queens. In fact You should be able to pull a round of
which point you discard three cards, but it is a conjuror's choice. If he chooses appiause at that point. Display the three
in counting the remainder you discover the Aces, turn the cards face out and you Aces and as you do so, point out that it is
that you still have six cards. Commenting proceed to show that the Aces are no possible that someone may be wonder-
on this strange happening you discard longer there. Ifhe chooses Queens, you ing what has happened to the Queens,
another three cards but on counting the say, "Okay, let's get rid ofthe Aces", click but they need worry no longer because
remainder, you still have six cards. (This the comer of the cards and show that you they have been playing follow the leader,
sequence is based on Tommy T\rcker's have Queens only. at which point you reach into the pocket
classic 'Six Card Repeat'.) and produce the three Queens. When you
T\rrning the cards face out, you show fire Encone Ctimax reach into your pocket to produce the
that the six cards consist of three Aces In the updated version, there is a sort of Queens you must take the two Queens
and three Queens, but they are in a par- encore climax. After you have apparently from the front ofthe packet and the rear
ticular order, which is, from the rear, with vanished the Aces, you are left holding card, which is the third Queen.
cards facing out, a Queen, three Aces, and the packet of six cards in your left hand. This was an effect performed by the
two Queens. You invite a spectator to Don't discard them, as before. If every- late Chan Canasta. What I have added
choose either the Aces or the Queens. We thing is as it should be, it should consist is the revelation ofthe card first, before
will assume that Aces have been chosen. of two Queens at the front, then the three you tell them which pocket they are in.
Holding the cards backs out in the left Aces, with the remaining Queen at the It doesn't actually give you two climaxes,
hand, you click the corners of the cards as rear of the packet. Hold this packet with but it does add interest and creates a little
before tuming them face out, and Buckle one long edge parallel to the floor, with build-up to the final revelation ofwhich
Count them as three cards only, which the left thumb at the top long edge and card is in which pocket.

38 cARDs
The Buckle Gount
- : count twelve cards as seven: Hold
--re cards in the left hand in the normal
::aling position, but perhaps a little lower
: -.nrr. With the left thumb push the top
:::d off the packet to the right (Fig. t).
-:e right foreflnger and thumb take it
. iq. z) and this is repeated with each
::rd until the sixth card. When you get to
:---e sixth card, your left forefinger bends
:.-.e bottom card of the packet, buckling
.-. edge under the cards above it, and
:.)arating it from the cards above (Fig.
,: The sixth card is actually a block of
.-r cards, which, if you try to push them
:lross are liable to spread.
The right hand approaches and takes
::e block ofcards, as one card, from the
-.tt hand, countingthem as "six" (Fig.+).
-:re remaining card is now taken from the
-:it hand and counted as "seven" (FiS.S).
The one really important point about
::e count is the timing. You must count
::e cards aloud, straight through from
rre to seven, without a break, or a slight
:rlter, when you get to the number six.
In this routine the cards are always re-
-..ersed, by countlng one card on top of the

:revious card, but there are many card

:ricks which rely on keeping the cards in
:he same order as you count them. In this
-nstance you simply add the cards in the
-eft hand to the bottom ofthe cards in the
:rght hand, buckling the bottom card in
:he left hand as and when required.

CARDS 39
Thb one dates back to the nineteen fifiies. I Efrect aloud, "One, two, three", and both ofyou
got the idea for it from a Douglas Francis ef- You have a deck of cards and give halfto a turn your top card over, and it is seen that
fect, which I think was published in the origi- spectator and instruct him to "do as I do". you have both turned over (say) a black
nal Pentagram magazine, and soon afier I In fact, you want him to duplicate your Seven.
realised that the effect could be repeated over actrons. The shuffiing of the cards, the chang-
and o"ter again, which is something I hale Instructing him to follow your actions, ing over ofthe top cards, the counting
done e'ver since. I hate performed this effect you shuffie your half of the deck which he of "One, two, three" are all repeated and
so mdny times over the years I could almost immediately copies by shuffiing his half when turning over the cards they are seen
write a smallbook on its developmentfrom ofthe deck. You now place the deck face to be (say) two red Queens. The effect
a straightforward, almost quickie, close-up down on your left hand and he copies can be repeated more or less as often as
card trick, to its present handling, featuring that action, too. You now explain that you you wish, and each time the cards are
entert aining audienc e p articip ation. want to change over the top cards ofyour seen to be a matching pair.
packets. This you do, keeping the cards
face down at all times, so that he has your Itleiltod
top card on top ofhis packet, and you The method is quite simple. The top
have what was his top card on top ofyour half of the deck is arranged in pairs. e.g.
packet. You explain that on the count of two black Sevens, two red Queens, black
three, you want him to turn his card face Threes etc. You have, in fact, thirteen
up and show it to the audience and you pairs of cards which constitute the top
will do exactly the same. You now count half of the deck. The bottom half of the

40 CARDS
deck is well mixed. In introducing the finger-break. You will find that in placing ing close-up mainly at large banquets,
effect, you are holding the cards in the your card on his packet, he will actually and made still another discovery; if you
right hand, face out, in the position for be holding his card in his right hand. Just have perhaps a dozen people around a
an overhand shuffle, and as you are ask- take this card and place it on top ofyour table, you can perform the effect twice
ing for a volunteer, you are shuffling the packet, still retaining the break. with one person, and having done so, ask
.-ards from the right hand into the left. If You now instruct him that on the count that person to pass his cards to someone
ail-one notices, which they won't, they of three you want him to turn his card else. You now repeat the effect, and ask
can see that the cards are well mixed. You over and show it to the audience and them to pass the cards across the table
are, in fact, only shuffling the bottom half you will do the same. You now count to to someone else, and repeat the effect
cf the deck. All the pairs remain intact. three and you both turn you cards over, again. At that point, you palm offperhaps
Once you have a volunteer, stand him but you actually do a double iift, which half a dozen cards and hand your packet
on your left and give him the lower half of will give both of you a matching pair. You of cards to still another person and take
ihe deck by cutting them offthe bottom, must point out this fact to the audience back the packet that has been handed
with the left hand. It need not be exactly by saying, "Hey, look, we both have a around, saying, "Here, you shuffle my
half of the deck. One or two either way black Seven". This ensures that everyone, cards, and I'11 shuffle these", and repeat
rrill not effect the outcome. Explain that even those who can't see, knows exactly the effect again. In this way, it looks as if
\-ou want him to "do as I do" and both of what has happened. You now say, "Put anybody can shuffle any ofthe packets.
rou shuffle your own halfofthe deck. At the card on the bottom", and place your There is no actual climax to the effect.
ieast, that's what it looks like, but what re- double-lifted cards as one on the bottom, When I first put this effect in lecture
allv happens is that he shuffies his half of and he will do the same. "Now shuffle the notes manyyears ago, I suggested that
'Jre deck, but you perform a false shuffle cards again", you say, as you give your you could present a Four Ace climax by
n'hich retains your half of the deck in its cards another false shuffle. He will shuffle both you and the spectator turning over
original condition, all pairs. his cards and you can repeat the effect, two cards revealing the Four Aces. You
So let's explain the false shuffie, which several times. could then do a Four Ace trick. I hear that
rs the easiest false shuffle ever devised. a couple ofyears ago someone who had
Remember that the spectator is on your Aftenthoughts been to one ofmy lectures and purchased
-eft. As you instruct him to shuffle the The above description is exactly how I de- my lecture notes, published that very cli-
cards, you turn to face him, which brings vised the effect, but over the years several mzrx to my effect in a magazine. He obvi-
r-our right side to the audience, and the things were discovered in performance. ously got the later lecture notes in which
back ofyour right hand to the audience. First, don't worry about anyone spotting I had dropped the FourAce suggestion
In this position, your left thumb pulls off the false shuffle, because they won't. As because I think that performing an effect
-.tre first card from the packet in your right long as your actions are performed with in which the Four Aces are the climax
hand into the left hand. It is held there the correct timing it will never be spotted. should not be followed by Four Ace trick.
reasonably firmly, as the right hand starts You have divided the attention ofthe Why do I think like that? I'm not sure,
an up-and-down motion into and out of audience between you and your assistant but I have always been against the idea of
the left hand as if it were shuffling the and it is extremely unlikely that anyone mixing two tricks together and what we
deck. Each time the right hand is raised will have their eyes glued to your hands are discussing smacks of just that.
out of the left hand, the left thumb ap- for the whole ofthe shuffle. From experi- I remember having a discussion with
plies a little pressure to the packet which ence, they will be looking at your assistant Albert Goshman about that very subject.
causes it to slide against the face ofthe After performing the effect for many He used to perform a combination of the
card in the left hand and as the packet years I made another discovery which Sponge Ball trick and the Roy Benson
clears that card there is an audible sound lifts the effect up into the unbelievable Bowl Routine. I had just seen him do
s-hich is exactly that of a deck of cards class. You exchange packets with the his act and pointed out to him that he
being shuffled. Remember, the back of the spectator and continue performing the seemed to have cut the routine short and
right hand is to the audience and they can effect. Yes, you shuffle each other's packet just did the Sponge Ball bit. I was pleas-
only see the back ofa card in the left hand ofcards and continue as before. How? antly surprised when he pointed out that,
and the right hand bobbing up and down Simple. A.fter performing the effect a after performing the combined effects for
as if it were shuffling the deck. It actually few times, palm a small packet of cards a long time, he realised that he was losing
looks as ifyou are shuffling the deck. To offthe top ofyour packet in your right out on both of the effects. The routine
complete the actions, the single card is hand. Handyour packet to the assistant was neither one thing nor the other. It
replaced at the face of the deck, and the and take his packet from him and add the was sort ofone effect whereas, when he
deck is placed face down in the left hand palmed cards to the top. You now instruct performed them separately, he had two
in preparation for what follows. him to shuffle the cards and you also definite stand-on-their-own effects. If
What follows is that you lift the top (false) shuffle your cards and repeat the he had a longish show, he would include
card offyour packet which the specta- effect again severai times. both routines, one early in the act and the
tor copies and you each place your card For many years I performed this other one later.
on the top of the other persons packet. effect as a close-up trick only. I then The idea of one effect blending into
As you reach out with your right hand to started using it in my regular platform the next one has been around for a long,
place your card on his packet you secretly or cabaret act, when I realised that by long time and probably originated with
get a little finger break under the top card calling the names of the cards out loud the silent manipulative acts performing in
ofyour packet in your left hand, which everyone, even those who couldn't see theatres, but even they eventually realised
at that moment is holding cards with the could understand what was happening. In that you had to allow the audience time to
top card facing the audience hiding the more recent years, I have been perform- applaud.

CARDS 41
 This is the tdeal fiect for anyone who already Some ti,me laten I realised that I could deck is perpendicular to the floor, so the
performs card manipulations. Many years create almost the same effect as card ma- backs ofthe cards face the audience. The
ago card manipulations were a regu.lar part nipulating by simply producing a few fans forefinger is placed on the end ofthe deck
of my act, but owr the years, the type of of cards from under my elbow, behind furthest from you and pushes a packet
work I was doing changed. I could no longer the knee, and occasionally from behind a of cards, say twenty cards, back into the
guardntee that the audience would always be spectators head. This was all done close right thumb crotch. (Fig. r) The right
in front of me. I found myself doing more and up at a banquet table. All ofthis led to the hand grasps the cards in the palm (Fig z),
more close-up and dropped the card manipu- impromptu vanish of the deck of cards, reaches under the left elbow and produc-
lations altogether. and in the description that follows, I have es the cards in afan. (pig.:) The action
to assume that the reader is familiar with of replacing the fan of cards back on to
some of the actions I describe. the deck and squaring them up gives you
With the deck in hand you perform the cover to steal another packet of cards
a few fans, and in closing the deck you Gig.+) and repeat the action of produc-
steal a packet from the back ofthe deck. ing them from your elbow.
To do this, hold the deck face down in This can be repeated as often as you
your left hand, long sides parallel to like, and if you stand with your right side
the floor, thumb on top, three fingers to your spectators you can produce a fan
underneath and the forefinger free. As from your left ear. Theywon't know that
you stand with your right side toward the they are coming from your left ear. What
audience, the Ieft hand is turned so the theywill see is your right hand producing

42 CARDS
 2 ,,',;' ;,:!!f
: !"tfl ,ugr,
t L

you straighten up and place the cards into is slowly turned over to show that the
the left hand, squaring them up, backs deck is no longer there.
out, as you do so. Provided you keep the That's it, but as always there are a few
top card of the packet facing outwards, things you should know which will help
the spectators will never realise that you you perform this effect. For a change,
only have a few cards there. let's start at the end ofthe effect and
Take the cards in the right hand, fingers work backwards. When you place the last
at one end, thumb at the other end and packet into the pocket, all you need do is
apparently place them into the left hand, get the fingertips of the right hand into
which is turned over back out, and as I the pocket, and at that moment you can
write that, I just know I'm going to have release the cards. Ifyou have pockets with
to explain that, so here goes. flaps, don't forget to tuck the flaps in.
Hold the packet of cards as already Patch pockets are the best.
cards from the other side ofyour head. described, fingers at one end thumb at the When you produce that small packet
You can produce them from behind your other. The left hand is held, palm out, at from behind your knee, place the cards
right knee, or, raising your left knee up shoulder height. The right hand places the straight into the Ieft hand, backs out. No
into the air, reach under it and produce packet of cards across the left palm and one will ever notice that the Ieft hand is
the cards. All ofthis can be done in a flngers, but just a little bit higher. If the empty when, in fact, it should be hold-
close-up situation and will more or less right fingers push the packet just a little ing the remainder of the deck. When you
achieve the same effect, or better, that above the left palm, and the right thumb place the packet of cards into the left
the stage manipulator gets from his card relaxes its grip, the cards will be levered hand to vanish them, mention that you
productions. back into the right palm. As that happens, are going to place "the deck" into your
Now we come to the vanish of the left hand turns back out as ifholding left hand. They don't know that you are
the deck. Having produced fans of cards the cards with the fingertips curled siight- only holding a small packet of cards.
from various spots, you steal a small ly as if gripping the end of the packet. As you dump the bulk of the deck into
packet of cards, say about ten. This will As the Ieft hand is turned over, appar- your left pocket (under cover of produc-
leave the remainder of the deck in the left ently holding the cards, the right hand ing cards from behind your right knee),
hand. Now reach down and produce them reaches under the left elbow and pulls the place the cards in flat to the floor. Don't
from behind the right knee. In this bend- sleeve back, and at that moment the cards stand the deck up vertically in your
ing down position, you place the cards are dropped into the left jacket pocket. pocket-place it in flat. This will hold
you are holding in your left hand into The right hand is brought round to the the mouth of the pocket open a little and
your left jacket pocket. Having produced front and allowed to hang naturally. The make the placing of the small packet into
the cards from behind your right knee, left hand performs a crushing action and the pocket much easier.

CARDS 43
 o

I contributedthis effect to Genii Magazine The efrect is simple. TWo people select work together, and you must find this out
in zooz with another title l"The Lefi Handed the same card. In fact the effect is so before you perform the effect. You can
Force", March zooz,Vol. 65 No.3, pg. 7o), simple that I know a lot of people read- orplain that you can find out ifthey are
and in relation to something else, but the ing this will think I've gone out of my compatible, or suited to each other, or any
effect b good enough to stand on its own. I mind, and I knowthat some of themwill other piece of baloney that comes into
have usedit mainly as awalk arounditem, immediately say that a1l you have to do your head.
or as someone dubbed it, "strolling magic", is have someone select a card, return it, Start with the male. You ask him to
but on the odd occasion when I needeil extra then force that same card on the second select a card, look at and remember it, but
material, this one always pops up in my person. True, but it misses the point I am whatever he does, he mustn't show it to
repertoire. Like all really good materialfor about to make, which is that you can bring her. Then he is to replace it in the deck.
strollers, it requires no preparation, jttst a rwo people closer together after they have He does so and you immediatelybring it
deck of cards. seen this effect. It is on a par with fortune to the top ofthe deck.
telling, tarot, palmistry or any of the T\rrn to the female and spread the
other things that a lot ofpeople want to cards, asking her to point to any one of
believe in. the face-down cards. Just as she is about
First things first. You must always per- to do it, which can be as fast as you can
form this for a couple who are a couple, or say it, close the cards up. Look at her
as they put it today, two people who are and tell her to take her time, look at the
already an item: married, engaged, walk- cards and decide which one she is going
ing out, etc. It also works for people who to point to, before she actually does the

44 CARDS
pointing. You now spread the cards again suitable, andwalk awaywith a smile. You for it, but when they do point to the top
and this time she will pause a little and will be amazed at the knowing looks they card, their reaction on the revelation of
again as she is about to point, close the will give each other. the card is much greater than the effect
cards up again, and say, "I forgot to tell There is one thing that makes this merits. Or is it?
vou, I want you to point to his card", in- effect stand out from anything similar, There is another psychological point
dicating you know who. Spread the cards and that is because you are continually that must be made, and that is that the
again, and this time she will eventually slowing them down in the pointing out of second spectator knows what you want
point to a card. Pull this card halfivay out the card, and they get to the stage where him to do, and tries desperately not to do
ofthe spread and close the cards up. Now they are going to take their time in the it, because he knows that you are trying to
pull the card out ofthe deck and place it selection, and their hand will travel back make him take a particular card. Your big
on top ofthe deck. Explain the there is and forth before finally settling on a card, advantage at this point is that you don't
only one person in the whole world who and theyjust know that you couldn't really have to do anyhing, and if you do
knows the name of the card that he chose, have known which one they were going it right, he knows that you don't care, and
and that person is standing right here to point to. In their mind you have made that's what makes it miraculous.
beside you. Ask him to name his card, and them do something which is actually im- For some reason that I can't explain,
when he does so, do a double lift, to show possible, and near$ always theywill react I have never got into the habit of asking
that she really did point to his card. accordingly. the spectator, after he has pointed to a
You look from one to the other, and Ifyou are doing this for a group of card, if he would like to change his mind
say: people, rather thanjust a couple, you can and point to another card. It may seem an
"You two should get repeat it, but insist that you really need obvious thing to do, because you can do
together more often", people who actually are couples one way it, but I think that, in this effect, it may be
or: or another. This time, the person doing on the same level as, "Let's try something
"I knewyou'd be compatible", the pointing will usually take a lot Ionger else". It clouds things up.
0r: to point to a card, and this writer can
"You have been together assure you that more than fifry per cent
a long time, haven't you?" of the time, theywill actually point to the
0r: top card of the deck. Don't ask me why,
'Your boss should have you but it is the one card that they KNOW
both in the same department". isn't the one, but of course it is, and you
don't have to do anything. One more
...or anything similar that would be thing, and again, I have no explanation

CARDS 45
Efteet Method on the outside of the wallet, away from
A spectator selects a card from a freely After the card has been signed and re- your body. The cards should be in another
shuffled deck, and marks the card with his turned to the deck, the card is controlled pocket. You will also need a Sharpie-type
initials. It is returned to the deck and, af- to the bottom of the deck and palmed off, Pen.
ter he has shuffied the cards, the perform- in the left hand. (See below for a method
er removes his wallet from his pocket, and for the Bottom Palm.) The left hand now Gontnottingthe Ca,nd
on opening the zip pocket which is inside reaches into the inside breast pocket to You can use your favourite method if you
the wallet he removes a card from it. The remove the wallet. Just prior to remov- wish, but this is the method I use. While
card is the very card that the spectator ing the wallet, you slip the palmed card the card is being signed crimp, or bend,
had selected, complete with his initials. into the identity panel in the wallet. The the bottom card at one corner.
stitches along the lower edge ofthe panel To have the card returned, undercut
are false, allowing the card to be inserted. the deck, which is held in your left hand
The wallet is designed so that any card and have the card replaced on the packet
insened into the panel will finish up remaining in your left hand (the original
inside the zipped pocket inside the wallet top portion). When this has been done,
(Fig. t). drop the undercut half of the deck on top
of the selected card. The position now is
heparatlon that the selected card is in the centre of
Place the wallet in your inside jacket the deck with a crimped card on top of
pocket on your right side, with the panel it. The crimped card can be seen quite

46 cARDS
clearly ifyou look at the side ofthe deck.
Make sure the spectators don't see it.
Now cut the deck a few times, but at
the last cut, cut to the crimped card, plac-
ing it at the bottom of the deck with the
signed card at the top ofthe deck. Shuffle
this card to the bottom ofthe deck. Now
we come to palming the card from the
bottom of the deck in the left hand. Later,
when we give you the presentation, you
will see that the audience are actually
laughing at this point and couldn't care
less about your technique, so don't worry
about it.
Hold the deck in the right hand from
above with the thumb at the inner end of
the deck and all four fingers at the outer
end. The left hand is brought up under
the deck and the third finger is placed at
the outer right corner of the face of the
bottom card. Apply a little pressure to the
face of the card with that finger and pull it
back a little, buckling the card (Fig. z), al-
lowing it to nestle into the left palm. Turn
the tips of the left flngers towards your
right, and 1ay the deck on the left palm,
on top of and across the card in your left
palm. You can noq if you wish, just hold
the deck in the left hand with the palmed
card concealed under the deck.
The right hand now takes the deck
from the left hand which is immediately
raised, back out, and reaches into the
right inside jacket pocket to remove the
wallet (Fig. 3). It is at that moment that
the card is slipped into the identity panel
in the wallet (Fig 4, exposed view). The
wallet is now removed from the pocket
and placed on a table with the panel un-
derneath (rig.S).

CARDS 47
 MAGIC

When you come to open the wallet pick If they both offer you the same value doing it is also to set the audience up for
it up with the left fingers under the wallet, coins ask one of them to change it for another laugh later, which you are going
and left thumb on top (Fig. 6). Open the anothervalue coin. Explain that it is very to use as misdirection.
wallet, unzip the pocket, and remove the important that the coins are different. Remove the cards from your pocket
card, which will be face down, with your Hold up both coins to display them, and ask the man on your right to give the
right hand (rig.Z).The left hand closes one in each hand, and explain that you cards a good shuffie, and when he has
the wallet one handed and replaces it in are going to place both coins behind your done that to remove one card from the
the pocket. You now ask the spectator to back for a moment. You now place both deck and give the rest back to you. Ask
name his card and you turn the card over coins behind your back and change them him to look at the card, remember it and
and allow the spectator to see the card over from hand to hand and bring them pass the card behind your back to the man
with his initials (Fig. 8, no initials on card to the fore again, one in each closed fist. on your left. When this happens give your
in photo). There is no need to allow the Ttrrn to the man on your left, open your pen to the man now holding the card and
spectator to run through the deck to see left hand to show the coin there, and say ask him to write his initials on the face of
that his card has vanished from it. If the to him, the card. (During this business, you have
card that comes out of the wallet has his "I want you to be honest and truthful, crimped the bottom card.) When he has
initials on it, he knows that it is his card. is that your coin"? He will reply, "No". signed the selection, take back the pen,
Turn to the man on your right and replace it in your pocket and immediately
hesentation repeat the action with the other coin, and undercut the deck and ask him to replace
Invite two gentlemen up to assist you. ask him the same question. He will also his card. Drop the other half of the deck
Don't ask for two volunteers. Look at two reply, "No". on top ofhis card and square it up.
gentlemen whom you think are suitable At this moment you are standing with Turn to each of the men in turn and ask
and invite them up. Stand one on your left a coin in each hand, and looking at each them both if they are gambling men. They
and one on your right, and thank them man in turn you say, "Well, If this coin will probably say, "Yes". If one or the
both. Ask each ofthem in turn ifthey isn't yours, and this one isn't yours, they other, or both, say "No", say, "Well, I'm
have a coin in their pocket, and ifthey must be mine", and place them straight sure you won't mind having a little flutter
do to "place it here", and hold out both into your pocket. This line will get a laugh tonight for entertainment purposes".
hands palm upwards, to receive the coins. from any audience, but the reason for It is during the foregoing preamble that

4A cARDS
vou cut the deck several times, and shuffle top of the wallet also. and ask him if that was his card and when
the top card to the bottom ofthe deck. Hand the deck to the man on your he says, "No", look as if you can't believe
You now turn to both ofthem and say, left, the one who hasn't signed the card, it. Take the card from him, take the deck
"We need another coin from both of you". and ask him to shuffle the cards and then from the man on your left, and place them
At that moment you will get a laugh place them face down on his right palm. in your pocket. Look at the audience,
from the audience because of the fact that You now say, 'IMell, you both said you smile, and say, "My father told me there
1,ou have "fiddled" these men out of some were gambling men, so let's have a gam- would be nights like this".
money already. It is at the exact moment ble. I'm going to cut the deck once only Pick up the wallet. Return the money
that you get this laugh that you palm the and I'm going to try to cut to your card. that is sitting on top of it, and remember
bottom card offthe deck. This is the se- If I do, I'm going to keep your money. If I that there is no need to hurry. Say, "I did
lected, signed card. Remember, the right don't, you can have what's in the wallet". promise you what was inside the wallet"
hand is on top ofthe deck. Keep your left (Or, if they said they don't gamble: "Well, Open the wallet, undo the zip and with
hand where it is, under the deck, and as even though you're not gambling men, the right hand pull the card out ofthe
soon as they start looking in their pockets let's have a go anyway".) pocket face down, then replace the wallet
for another coin the Ieft hand is removed Now is the time to act. Cut the deck at into the pocket with the left hand. Look
from the bottom of the deck, and with about the centre, display the card that is surprised, and step back a pace so that
the back ofthe hand to the audience, it at the face ofthe packet you are holding, neither of the two men can see the face of
is brought up and into the inside jacket and ask the man on your left if that is the the card, which you are now holding back
pocket. The card is loaded into the wallet card he selected. He will say, "No". Look to the audience. Turn to the man on your
as the wallet is brought from the pocket at him, smile, and say, "Look at the card left, showing him the face of the card,
and placed on the table, with the panel on top ofyour packet". and ask him, "Did you take the Two of
underneath. He will lift up the card to look at it Spades?" and when he nods "Yes", turn to
Take the two coins from the spectators while you look at the audience as if you the second man and ask, "And are those
and place them on top ofthe wallet and as are the greatest. He will soon let you your initials?" When he says, "Yes", hold
you do so say, "I'11 even add some of my know that the card he is holding is not his up the card for the audience to see, say
own money to it", and bring the first two card. When he does so, take the card from "Thank you", and send your two assis-
coins from your pocket and place them on him and turn to the man on your right tants back to their seats.

CARDS 49
 Onc)TwoThrcc,
)

This is an unexpected method of producing a Hanre a card selected, returned to the fly up and over your left shoulder to be
previoruly selected card. You uill require the deck and controlled to the top. The deck caught in the waiting left hand. Timing is
ability to hold the deck in one hand and spin is held in your right hand, which is placed important. You actually start spinning the
a cardfrom the deck up at ledst two feet into behind your back. Explain to the spectator card just before you say "Three", so that
the air and catch it in the other hand. Several that you are going to try to find his card you catch the card as you say the word
methods have been devised to achieve this as fast as he can name it. Tell him that, on "Three". Ifyou can already spin a card
effect, andwe will assume that you know at the count ofthree you want him to call you will master this effect very quickly.
least one of them. out the name of his card. As the hand is held behind the back, it
When you reach three, spin the card should be held about six inches away from
upwards behind your back, and it will the body.

CARDS 51
Flrst of all, let me explain the title Heba both strength of effect and entertainment. the back ofthe girl's hand, then on her
Haba Magic. lnt966, on myvery first visit AI's method and presentation was palm, her wrist, her arm, and Lord knows
to the United States, I was in Chicago, designed to be performed behind a bar for where else. In the course of the presenta-
staying at Jay Marshall's place. One night a group of people sitting at the bar. What tion, Al would continue to serve drinks to
he took me down to a bar called the I have done is to devise a method which is the customers at the bar, and the letter
NewYork Lounge, and introduced me more suitable, and perhaps more practi- M would appear on these customers'
to a magic bartender called Al Aldrucci, cal for the walk around performer. I can't hands and arms also. I actually saw it one
better known to the customers as Heba think ofa better title for the effect than night appear on a bald man's head, and
Haba Al. One of his standard effects was Heba Haba Magic. although he couldn't see it himself, every-
performed with a sugar cube and a glass The Heba Haba presentation was to one else could, once Al had pointed it out
ofwater. There had been several versions have someone, invariably a female, te1l to them. His method was to wet the tip
ofthis effect published over the years, and him her name, and he would write her of his forefinger and press it on the initial
I remember reading that it was Indian in first initial on a lump of sugar. We will which is written on the sugar cube. An im-
origin, but this was the very first time I assume that the initial is M. He would age ofthe initial would be transferred to
had seen it performed, and nothing or no drop the sugar cube into a glass ofwater, the tip of the finger which, in turn, would
one had prepared me for the effect it had explaining that ifthe lady placed her hand be transferred to the spectator's hand, etc.
on the spectators that evening. Over the over the mouth of the glass it would help The Patrick Page version ofthis effect
next thirry years or so I was to witness Al the sugar to dissolve quicker. The pay off is to have someone select a card and the
perform this effect/routine many times, to the effect is that the sugar never actu- name ofthe card appears on the back of
and every time it seemed to improve in ally dissolves but the letter M appears on the spectator's hand etc.

52 CARDS
 o

tor called "stop" on. Offer this card to the

spectator as his selection.
The card has been forced. What hap-
pens next is that you replace the deck of
cards into your right jacket pocket again,
between the body and the ink pad. Once
this has been done, the right middle finger
takes an impression from the ink pad, and
the hand is withdrawn from the pocket.
Ask the spectator to hold out their hand
and, as they do so, it is a natural action for
you to take hold oftheir hand to position
it, with the thumb on the palm of their
llethod hand, and the fingers underneath. At that
You need an ink pad with two holes in the point you simply press the tip of the mid-
Iid and a plastic insert which lies on top dle finger on to the back oftheir hand and
of the pad, in which is cut out the name of the dirry deed is done. Place the selected
two force cards. A second piece ofplastic card on to their palm face down and ask
can be fitted on top ofthe cutout when them to blow on it. When they have done
the pad is not in use to prevent it from so, lift the card offtheir palm and ask
drying out. them to blow on the palm. When they do
The cutout insert is actually a stencil. fbPlesent the Efiect so ask them to turn their hand over and
The position of the card names coincides The playing card has to be forced and the they will be amazed to see the name of
with the two holes in the lid of the ink force we recommend is the Slip Force. their card on the back oftheir hand.
pad. With the lid of the ink pad closed, Have the force card on top ofthe deck. That is the effect, but you will realise
you can insert the tip of your middle fin- Hold the deck in the left hand with all that you can place the name oftheir card
ger into the hole and take an impression four fingers curled over the edge ofthe anywhere you wish simply by taking
of the card name on the tip of the finger. deck and pressing down on the top card. hold of their wrist to move their hand
Ifthis finger tip is now applied to the back The left thumb is along the long edge. "over there a little". This will leave an
of someone's hand, it will leave the name Riffie the thumb down the long side of impression on their wrist. Simply tapping
ofthe card on the back oftheir hand. the deck, but near the corner, and ask a second lady on the arm and sayln&
someone to call out "Stop". When they 'Itr/atch closely, you'll be amazed", will do
Plepa^natlon do so, the right hand lifts all the cards the trick. Ifyou have a broad-tipped nose,
The ink pad is in the rightjacket pocket above the break offthe lower half but, in go for it. Place a folded paper napkin
with the holes in the lid facing ourwards. doing so, the Ieft fingers pull the top card over the card on their hand and leave an
The deck of cards is in the same pocket, of the deck on to the lower half so it now impression on the napkin.
but is placed betlveen the ink pad and the becomes the top card of the lower half. It Now say a silent thank you to Heba
body. looks as ifthat is the card that the specta- HabaA] Ardrucci.

cARDs 53
 o

lf you're wondering about the title I have The efiect is quite miraculous. After a sort ofunder the shoulder pad, on the left
given this effect, the ans"nter is simple. I was card has been selected and returned to side. Ifyou stand up, the card should hang
working in Davmporf s Magic Shop at the the deck, the deck is placed face up on down inside the jacket, but not below the
time, and I couldn't think of anything better. the table and a coin is placed on the face bottom edge ofthe jacket. You will have
I quit that job in t975, and I think I came up card of the deck. A small piece of paper to experiment to get the right length for
with this idea, around tgTo-ish. I think the is crushed into a small ball and placed on yourself, as you will see.
first people who saw it were Pete Biro and the coin. This paper is now touched with The card could be kept there penna-
J ay Marshall both of whom were tMting the lit end of a cigarette and gives offa nently, and added to the deck as required,
England at the time. Many years later, in the bright flash, and the card under the coin is or it could be the top card ofthe deck
late eighties I think, Simon Louell performed seen to have changed to the selected card. inside the card case, which would have to
it on one of hb videos, with permission. It is a very visual effect. be kept in a pocket on the left side ofyour
There is a little preparation involved body. The writer uses two cards stuck
with this effect, but if you decide to per- together, which become a thick card and
form it regularly, it presents no problems. helps with the card location in the effect,
The coin is normal, and the paper is, of and is the top card in the card case.
course, Flash Paper. About the thread: The finer and stron-
The preparation consists ofhaving ger the thread is, the better; but don't go
one card attached to the end of a piece of thinking it has to be an invisible thread. I
thread, and the other end ofthe thread have used plain black cotton thread many,
is fixed by a safety pin inside the jacket, many times, r /hich is what I have used for

54 CARDS
the Acrobatic Matchbox all my life with- shufle, by just shuffiing either the top selected card which is sitting pretty under
out anytrouble in any shape or form. half of the deck or the bottom half, with the coin.
Let's do the effect. the selection and *re thick card still I have deliberately not told you which
Bring the cards from the case and place together. Cut the thick card to the bottom hand holds the cigarette, because it
the case aside on the table. The thick card ofthe deck and turn the deck face up, doesnt matter. I have tried it all ways
is on top ofthe deck, Spread the deck and placing it on the table near to the edge. and it works whichever hand holds the
have a card selected from anywhere in the The selected card is now under the thick cigarette. You can actually touch the Flash
deck-except you knowwhere. While the card. The thread should be hanging down- Paper with the cigarette and the same
card is being looked at and perhaps shown wards from the thick card a little and back hand holding the cigarette moves back
around, get the deck in the right hand and under thejacket. instandy and hits the thread. Ifyou have
do a Swivel Cut from the top of the deck Place a largish coin on top ofthe actually bought this book, rather than
into the left hand so that the thick card is face-up thick card and roll up a piece of borrowed it, thenyou've paidyour money.
now the top card ofthe left hand packet. Flash Paper and place it at the centre of Now take your pick.
Have the selection replaced on top ofthe the coin. You need both hands at this Once you have performed the effect,
thick card and place the right hand packet point. One hand holds the lit cigarette, you will find that if you stand up, the card
on top of all. the other one doesn't. Touch the lit end will swing back under your jacket. But
The situation is that the selected card ofthe cigarette to the Flash Paper and, as care must be taken not to flash. I put all
is under the thick card somewhere near it flashes, the other hand hits the thread. the cards back into the box including the
the centre of the deck. Ifyouwish,you The thick card will be pulled out so fast thick card, and do a non-card trick.
can nol,\r apparently give the deck a good that the eye cannot follow it, exposing the

cARDs 55
I hope the title of tltis ffict doesn't put you A few 5rea^ns ago I was asked to write replace their card among them, and give
lt is an-
ffi but it had to be called something. some material, or come up with some them a shuffie while you are not looking.
other variation of the Hardin Princess Card ideas, on E.S.P. cards which were marked. Ask them to hand you the cards, which
Tric\ fhrs time uith E.S.P. cards. This was one ofthe ideas, but I soon you place into your rightjacket pocket
discovered that you can do it just as eas- immediately. Tell them you are going to
ilywithout the use of marked cards. The reach into your pocket and remove just
climax of the effect is actually stronger one card, and that it is going to be the
than the original Princess Card Trick, in card they selected. You now reach into
that you produce a card from your pocket your pocket and produce one card. Have
before the spectator names his choice, the spectator name his selection and
but loses in that the spectator takes a when you turn the card over, it is seen to
card rather thanjust thinking ofone. The be that very card.
effect is not repeatable immediately as in You have two sets of five E.S.P. cards.
the original, but it really is so strong an ef- One set is in your right jacket pocket in a
fect that you wouldn't want to repeat it. known order. The other set is arranged in
You showfive E.S.P. cards and mix the same order. You spread them out face
them around face down. Spread the cards up to display them, then turn them face
out and ask someone to choose one, and down and apparently mix them up. In fact
as they do so turn away as you hand them you keep them in exactly the same order.
the remaining four cards, have them With only five cards, this should not pres-

56 cARDS
ent a problem. Spread the cards in a fan One last point. When you take the one to five, it is very easy to remember
and offer them face down to a spectator cards from the spectator to place them their order in your pocket.
to choose one, and remember it. The mo- in your pocket, it may, depending on It may be that the person who origi-
ment he chooses one, you will know what circumstances, be possible to glimpse nally decided on those s).rynbols as being
it is because of its position in the spread. the bottom card. Ifthat card happens the best for thought transmission tests,
Immediately turn your head away and ask to be the selected one, there is no need realised they could be numbered in this
him to take all the cards and mix them up. to search for it in the other packet. Just way. I don't know. I'm just glad someone
When he has done so, you take the cards take the bottom card from his packet. In did.
from him and immediately place them in this instance, you could, but only ifyou
your pocket with the other cards. wanted to, repeat the effect by remov-
Because you now knowwhich qrmbol ing the remaining four cards from your
he has chosen, it is a simple matter to pocket and rearranging them in order to
reach into your pocket and count from proceed.
the front or back ofthe five cards and Regarding the order ofthe cards, some
produce the one you need. There are vari- genius or other, and if I knew his name I
ous methods for keeping the rwo packets would print it here, discovered, that the
separate in your pocket, but the simplest circle has only one line, the cross has two
one, ifyou intend to perform the effect Iines, the wavy lines has three, the square
regularly, is a postcard. Just place one has four lines, and the star has five points.
packet on either side of it. If you think of those symbols as numbers

CARDS 57
Thls ls, ofeourse a classic card effect in my pocket". As the line is delivered, he will reply, "Ten". Again you instruct
and like al1 classics, it has had hundreds you raise your left elbow, to allow him to him to count the cards on to your right
of interpretations. This is one more. The drop the remainder ofthe deck into your hand, loudly and clearly, and when he
effect is that two spectators, standing one left jacket pocket. It is at that exact mo- does so, as he reaches the figure nine, you
on either side ofyou, have ten cards each, ment that the left hand drops the three join in on the counting, so that both you
and you, the miracle worker, make three cards above the break, from the left hand and he are saylng, "Ten, eleven, twelve,
ofthe cards travel from one packet to onto the cards in the right hand. As soon thirteen", in unison, and make sure that
the other while the cards are held by the as the dirty work is done you turn to face you raise your voice a little on each as-
spectators. front again. Both hands are still appar- cending number.
In addition to the cards, you will ently holding ten cards. The trick is over. Get your assistant
require a pocket handkerchief, not too Ask both spectators to hold out a hand a round ofapplause, and proceed with
small. You begin bybringing forth the and place one packet ofcards on each whatever. The routine is simple, the one
handkerchiefand opening it out, to refold hand. Explain that you are going to make and only "move" isn't diffrcult, and there
it, so you can drape it over your left fore- three cards travel from one packet to the is no real preparation required. It can be
arm, after the fashion of a waiter's cloth. other. Take the handkerchieffrom your performed on the largest stage or in the
The two spectators are standing one on left forearm, open it out and, with both smallest room. Is there more to be asked
either side ofyou, facing the audience. A hands, wave it over first one packet, and for?
deck of cards is handed to the spectator then the other. Explain that the miracle A couple of points need mentioning.
on your left, and he is instructed to shuf- has taken place and drape the handker- First, the handkerchief. The reason for
fle the cards and then count out, loudly chief over your left hand, palm upwards. draping it over your left forearm is that,
and clearly, ten cards, which are placed on To the spectator on your left, you ask when you turn to the right to do the
your outstretched Ieft hand. how many cards he had, and he will reply, "move", the handkerchiefis extra cover
When this has been done, you instruct "Ten". Have him count the cards loudly for people sitting to your left and front,
him to pass the deck of cards across, in and clearly, one at a time onto your left and the second spectator, whom you are
front ofyour body, to the other spectator. hand and, in effect, onto the handkerchief. addressing at that moment, provides
As this is being done you get a little finger When he does so, there will onlybe seven cover from your right. Secondly, it has
break under the top three cards in your cards. Holding the cards through the become customary to have a spectator
left hand. As soon as the second specta- handkerchief, turn the left hand over and call out a small number, say, up to five,
tor receives the deck, you instruct him to wrap the cards in the handkerchiefand in the hope that someone will shout out
count out ten cards onto your right hand. dispose of it in your pocket, or wherever "Three". From a comedy point ofview
When he has done so, he will be left hold- suitable. this can be made very strong, especially
ing the remainder of the deck. As he fin- Thank the assistant for his help and get ifthey don't call "Three", and you have a
ishes counting the cards, turn your body rid of him-sorry ask him to return to comedy "out", but this writer prefers to
to the right, without moving your feet and his seat. Now turn to the second assistant state that he is going to pass three cards
as you do so you say, 'Tust pop the cards and ask him how many cards he had and from'trere to there" and leave it at that.

58 cARDS
 Prtncess

Fon the necord, I originally described which are placed singly into the left hand As he is reaching into the pocket your
this effect in a book calledPages From under the first rwo so as to retain them left hand is in the perfect position with
Patrick's Noteboolt, published by Martin in their original order. You now explain perfect cover to drop the top card ofthe
Breese in England. That method used that there is one card left in the pocket. In packet into your left jacket pocket. This
gimmicked cards. The present version is fact, there are none. You ask the spectator will be the card he is thinking of.
more pure. It uses only four cards, which to name the card he is thinking of. When When he removes his hand from your
can be taken from a borrowed deck, and is he does so, you have to show that you right pocket tell him that when he tells his
a sort of version of Henry Hardin's Prin- are only holding three cards and that his grandchildren about this trick, the thing
cess Card Trick which has always been card is not among them. There is a differ- that's going to worry them is not how the
one of my favourite effects and it is one ent method ofdoing this for each card. card disappeared from the pocket, but
that I still perform using E.S.P. cards- Remember, the cards are Clubs, Hearts, how it got into that pocket, and as you say
but that is another story. Spades and Diamonds from the top of the this turn your left side to him and let him
The effect is almost as in the original packet down. reach in and get the card.
Hardin effect, until the climax, which is If he names the QC, turn the cards face Anywell-versed card man will figrre
a little more surprising than the original. up and just spread the top three cards. out many different ways to show the four
The faces offour Queens are shown to a TWo cards are held as one at the bottom cards as three and keep the selection
spectator and he is asked to think of one of the packet, hiding the QC from view. hidden from view. Surprisingly, this effect
of them. All four Queens are now placed Point out that the QC isn't there. Turn can be presented to quite large audiences.
into your rightjacket pocket. You explain the packet face down bringing the QC to If you are working from a platform, move
that you are going to remove three of the the top ofthe packet. over to your left on the platform and
cards from your pocket and leave one If he names the QH, turn the packet invite a spectator on that side to think of
behind. This last card will be the card the face up and count the four cards as three one ofthe four Queens. Now move back
spectator is thinking of. Three cards are using a Buckle Count on the second card to centre stage to affect the removal of
now removed from the pocket, leaving and placing the last card on the face ofthe the three (?) cards. Have the spectator
one behind. The spectator is asked the packet. Draw attention to the fact that the name his card and show that you are not
name of his card and when he names it, QH isn't there. Thrn the packet face down holding it. Now move over to your left,
you show the three cards which have been and the QH will be at the top. towards the spectator and invite him to
removed from the pocket. The spectator's If he names the QS, openly transfer one step forward and remove the selected
card is not among them. The spectator is card from the top ofthe face-down packet Queen from your pocket. As you say this
invited to reach into your pocket and re- to the bottom. Now turn the packet face turn your right side to him. If you are on a
move his card. When he does so he finds up and Buckle Count as for the QH, siightly raised platform, you will find that
that the pocket is empty. You now invite counting four cards as three and turning as he reaches into your pocket, all eyes
him to reach into the left jacket pocket the packet face down to bring the QS to are on his hand, and that is the perfect
and he finds the card there. the top ofthe packet. time to drop the card into you left pocket.
Here's how. The four Queens are in If he names the QD, transfer two cards When he fails to find it, turn your left side
a memorised order from left to right, from the top of the packet to the bottom, to him for the denouement.
or from top to bottom. The CHaSeD tum the packet face up and Buckle Count One last point. As the spectator reaches
sequence of Clubs-Hearts-Spades-Dia- to show three cards and proceed as before into your right pocket searching for the
monds is as good as any. After the specta- by turning the packet face down to bring card, your right hand should be raised a
tor has thought ofone ofthem they are the QD to the top. Iittle, if only to give him room to manoeu-
placed into the rightjacket pocket. So far all you have done is show that we, but as soon as the left hand drops the
Explaining that three cards are going to you are not holding the named card, so card into the left pocket, the left hand is
be removed from the pocket, You reach the one that is left in your pocket (?) must also raised away from the pocket so that
in and bring forth two cards held as one. be the selection. Ttrrn your right side to both hands appear to have been held high,
This is done with the right hand and the the spectator and ask him to reach in and away from the pockets at all times.
cards are passed to the left hand. This is take out the selected Queen, and when he
repeated with the remaining two cards, reaches in he will find the pocket empry.

CARDS 59
Thts ts anothen quickie discovery. A when they emerge, the clothes peg is seen is clear of the deck.
deck to be clipping a card between its jaws. You
card is selected, returned, and the It should be very fast and clean. No
now
shu-ffied. You know the drill. You ask the spectator to name his card and fumbling allowed.
hand. when he does so, you turn the clothes peg
spread the deck in a fan in the left
The right hand produces a spring-oper- over to show the selected card.
ated clothes peg from your pocket as you This is a case ofbringing the selected
say, "\Match this". card to the top ofthe deck, and clipping
Both hands go behind your back for it from the fan behind your back. Do
hardly a second and both hands are practice it. You should be able to thumb
brought to the front immediately, but the top card offto the side of the fan so it

6o cARDs
 t
o

1t
This b a modern yersion of an effect I ee- hops After the mix, invite someone to point
ated back in the nineteen-fifiies. 'Ihe effect is Three spot cards, one ofwhich has a to the Queen, and theywill point to one
exactly the same, but this time it k performed Queen printed on the back (i.e., one ofthe face down cards. Turn it face out to
with jumbo size cards, andhas an added double-face card), plus one special Ever show that they are wrong. Now turn the
"kickef' which will amuse and amaze. Change Card. other face-down card over to show that if
The effect is in three parts. they had bet money on it they would have
First the vanish ofthe Queen; Iost.
Second, the production ofthe King, Place the three cards aside and explain
which is the wrong card; that while they weren't looking you
Third, the card changes from a King to slipped the Queen into your pocket. Bring
a Queen out the Ever Change Card.
Efiect To vanish the Queen, display all three
Three cards are shown, two spot cards cards to the audience, with the Queen in The Enen Cfnnge Gard has a sliding
and one Queen. The audience are invited the centre. Bringthe Queen to the front section which will travel from one end of
to keep their eyes on the Queen, but she and square up the packet. Explain that the card to the other, ifyou turn the card
vanishes, leaving you with three spot you want everyone to keep their eyes on from end to end. To make it appear to
cards. You explain that while theyweren't the Queen, and to make it easy for them, change from a King to a Queen, hold the
looking you slipped the Queen into your you will turn the Queen face down. card in the right hand at the finger tips
pocket, and as you say this, you remove You actually turn two cards over as with the right fingers hiding the Queen
a card from your breast pocket, back out, one, making sure that the two cards don't index from view.
and when you turn it round to show the spread apart and give the game away. You Now with the left hand, take hold of
audience the face ofthe card, it is seen to now spread the cards to show that there the opposite long edge of the card, at
be a Jack. are two spot cards face out and the Queen about the centre, and turn the card over,
The audience will soon let you know (?) is back out. In fact, the back-out card end for end, so that the card is now fac-
that it is the wrong card. You now turn is a spot card, and the Queen is on the ing you. Because the sliding section has
the card so you can look at the face, to back ofone ofthe spot cards. Now turn moved downwards, it will now appear to
confirm what they said. You look at the the other spot card back out, just to, be a Queen, except for the King index at
audience and say, 'qiVell. When you're a "Make it a little more difficult for them". the bottom.
magician, that isn't a problem" You now have two cards back out, and With the right hand, take hold of the
You blow on the face ofthe card and one spot card face out. You mix them right long edge ofthe card at about the
turn it round to face the audience so they around a little and ask them to keep their centre, and start to turn it round, by mov-
can see that it has changed to a Queen. eyes on the Queen. ing the right hand to the right.

62 cARDs
 At that point the Ieft hand is brought
over to the lower corner and covers the
King index as the card is brought full-face
to the audience.
This completes the change of the card
from a King to a Queen.

FontheRecord
Ever Change Cards and Double Ended
Cards have been around, at least since the
nineteenth century but I was the first to
combine the two together to produce an
i
almost optically perfect jumbo size chang-
ing card.
D
AnExEa
At the end of the first part of the effect,
after the Queen has vanished, you can, if
vou wish, show the faces and backs of all face. Just Brrp the Queen card with the
three cards. right fingers under it and turn the right
Here's how: Hold the cards in the Ieft hand over immediately, to showyou are
hand. The Queen is the bottom card of now holding two spot cards.
the three and is facing the audience. The The card remaining in the left hand is
right hand approaches the left hand, now turned over to show that this card is
removes the first card and turns it over also a spot card.
in an upwards direction, face out to the The card is constructed with five
audience. components. The base card, here shown
The right hand, still holding the first blank (Fig. r) can reallybe anything, as it
card, approaches the left hand as before is never seen. On top of this are two half
and apparently takes the next card and cards, a King and Queen ofdifferent suits
turns it over to show its face, alongside assembled to form one double-ended
the first one, but in fact, pulls the bottom card (Fig. z). Next comes a frame (Fig.
card ofthe two cards held in the left hand. 3) made from slightly thicker cardboard,
This card is showing the Queen to the to provide a guide in which the moving
front.The card is taken with the right fin- piece can easily slide. The sliding piece
gers, and the two spot cards are displayed (Fig.+) is made from a piece ofjumbo
together. Do not pull the Queen sideways card, about half as long as a normal jumbo
from the bottom as this will er<pose its and trimmed in width so it will fit within
the frame and slide up and down easily.
Mounted on this are two sections of a
King and Queen, trimmed so theywill fit
in place. Last is the face of the fake, made
of a King which has the upper and lower
pip sections cut away, and one index
removed. This is replaced by a new index
for the Queen (Fig. S).
Glue the two half cards to the base and
glue the frame on top of it. Mount the
two small sections of King and Queen on
to the moving part and trim the result-
ing card so it fits within the frame, loose
enough to be able to slide up and down
under its own weight. On top of this is
glued the face card.

CARDS 63
 o

What I am about to describe is a card trick What happens ls that you continually The setup is simple. The large coin is
with a surprise finish, and, unfortunately for cut and shuffie a deck of cards, in the in your sleeve and you have four Aces
the people who don't like card tricks,l will course ofwhich you produce four Aces, face down on top of the deck, which is
have to describe the card trick first. I have one at a time. For the climax, you produce held face down in the left hand. The right
always used this card effect with the Sleeve a large coin from under the four Aces. I hand takes the deck from above, thumb
Dodge, and as I promised myself to be truth- must have performed this effect hun- at the inner end and four fingers at the
ful and tell you exactly what I do, that's what dreds of times, and always do it in a walk outer end, and commences an overhand
you are getting. around situation, usually at receptions shuffle into the left hand, faces out, so the
where people are standing. To use the spectators can see the ever-changing faces
Sleeve Dodge (see Chapter5) while lean- ofthe cards. The four Aces are retained
ing over a tabletop presents problems we at the top ofthe deck. The deck is now
can live without. One little bonus we earn placed face down in the left hand, and you
from performing this in a walk-around perform a double undercut, which trans-
situation is that we don't have to worry fers an Ace from the top ofthe deck to the
about dropping the coin into the sleeve bottom. Now, with the right hand, take
secretly. Having performed the effect hold ofthe outer end ofthe deck and turn
for one group, you simplywalk away and the whole deck face up in the left hand,
as you do so, drop the coin into the top stud sryle, showing an Ace (Fig. t). As the
ofthe sleeve, and as you reach the next Ace appears, you instruct the spectator,
group you are already in'go mode'. "Hold your hand out". Pick the Ace offthe

64 CARDS
 E!,'i -D.

\-

iace of the deck and place it on his pa1m. that your hands contain nothing but the not just a four Ace production. AJI you
The deck is now taken in the right cards, the effect I have described is ex- need is a few cards in your hand. Any one
hand, faces out, and given an overhand actly what they will think they have seen. of those packet tricks you have in your
shuffle exactly as before, again retain- I will also add, for no reason at all, that wallet will do.
ing the Aces at the top of the deck. The of all the methods of producing four Aces
rvhole action is repeated until you have I know of, this one is, I think, the one that
produced three Aces, which are now ly- impresses lay people the most. If you have
ing on the spectator's palm. Produce the just a little imagination, you will realise
tburth Ace as before and as you are about that this production of a large coin can
to, apparently, place it on the spectator's climax almost any close-up card trick and
palm you actually lift the three Aces off
his palm, under the fourth Ace which is in
vour right hand. As the Aces are lifted off
his palm, your left hand places the deck
on his palm. Hold the four Aces in the
right hand and spread them in a fan (Fig.
z). Show both sides of the fan (Fig. 3) and
as you do so, the left hand is dropped to
vour side to receive the large coin from
vour sleeve. Bring the left hand up with
the coin, and at the same time bring the
right hand with the four Aces over the
coin, concealing it (Fig. 4). Mention that
with four Aces you would win big money
any'rvhere in the world. Pull the four Aces
aside to show the large coin lying on the
Ieft hand (Fig.S).
The effect you are trying to create is
that the right hand draws the fan of four
-{ces across the empty left paim and
produces the large coin. As they have seen

cARDS 65
ln recent years there has been a tendency sist mainly of getting a spectator to either As I write this, I'm thinking, "\Mhy am I
among the younger element in professional name a card, think of a card, peek at a writing this?" It is a complete waste of
magtc, to go for what thE haue been calling card, or remember a card as the perform- time, because the people who indulge in
"jazz magic", and I hope you have noticed er spreads the cards in front oftheir face. this peculiar pastime will never under-
that I have chosen not to dignify it by omit- Now, because the performer isn't exactly stand what I am talking about. Ifyou per-
ting capital letters and, having said that, sure, most of the time, which card the form regularly, then things will go wrong
I mwt add" that there is nothing actually spectators has in his mind, it becomes pot occasionally. After a long time, they will
wrong with jazz magic itself, jrut its prac- luck as to whether he is going to find it, or go wrong less often, and by then you will
titioners. They don't seem to know when to how. It usually starrs offby the Sreat one knowwhat to do about it when it does
stop. looking through the deck and asking stu- happen. But to deliberately place yourself
pid questions, that I will not detail here, in a position where you don't actually
Jazz muslc, I can understand, I think. and then he will ask for three chances to know what you are going to do next is
They play a melody, demonstrate a lot find the card. The upshot ofit all is that professional suicide.
of variations on different instruments he will probably palm it off and produce I think maybe Jack Chanin from Phila-
around the basic theme, and come back it from his trouser pocket, which isn't a delphia was the original jazz magiciat it
to the original, team handed, for a rous- bad effect, but he could have performed it its truest sense, which is improvisation.
ing finish. Each soloist has a free hand to without " all that jazz" . He could, and did, walk into a room, bar,
interpret the piece as he or she thinks fit. Occasionally, you will get a guywho restaurant, anywhere, and do magic with
Most of the jazz magicians I have seen has fourteen "outs" for everything, but what was available. Cutlery salt shakers,
only do card tricks, and they seem to con- never quite gets the right "out" first time. napkins, paper or cloth. Pencils, pens,

66 cARDs
coins, paper money, cigars, cigarettes ing about it, there is another reason, and ing the prop in your hand, or the prop
rvere all grist to what appeared to be a this one can never be resolved, and that is could be sitting on the table and could be
perpetual motion mill. That's jazz. Againl the tendency for the card experts to want operated by hitting the top ofthe balloon
ask myself, '\Mhy am I writing this?" to perform sleights while the spectator's and pushing it down slightly. It was this
Yes, there is a reason, and the reason nose is no more than six inches away from second action that Al used. It occurs to
is that I would like to help those poor, the deck. Theywant to prove, (to whom?) me as I write that what I am about to
deluded people. I would like to show that their sleights really are invisible. I describe has probably never seen the light
them the light, show them the error of would be the last person to decry tech- ofprint before.
their ways, and I'm beginning to wish I nique, but this attitude loses sight ofthe For the record, Al placed the card to
knewwhat I was talking about. OK. The fact that, in this day and age, a magician is be changed on the bottom ofthe deck.
heading at the top ofthis section is The supposed to be an entertainer, not a smart Although I spoke to Robert Harbin many
Top Change, and I'm not sure why. I have ass. times over the years, I never got round
checked through a lot ofthe old books Over the years I have seen lots of to asking him about the change. In view
and all ofthem seem to describe "the magicians do the Top Change, but not too ofthe fact that he had controlled all six
change", and usually give rwo different many of them were all that good. The first cards to the top of the deck, it is more
methods, one where you deposit a card person I saw do a really good full frontal than likely that he placed the card on the
on top ofthe deck to change it, and one Top Change was Robert Harbin. Dur- bottom of the deck, which would ensure
rvhere it is placed on the bottom ofthe ing his act he had several cards selected, that the cards were always in sequence on
deck; but no mention ofa "top" change, I think six, and he discovered and/or top of the deck as he required them.
at least at the beginning ofthe twentieth revealed each one in a different fashion. Let's continue with Al's performance of
century and as this writer prefers the I can remember it quite clearly, and after the effect. He had a card selected and gave
method where it is placed on the bottom the change, I thought, "He's done a Top the spectator a thick red marker pen and
of the deck it seems ludicrous to call it a Change". It was the only explanation asked him to sign his name across the face
Top Change. possible. I didn't actually see it happen, of the card, adding, "If it is a picture card,
The Top Change is one ofthose I only realised it after it had happened. write your name down the side of the card
sleights which can be used to get out of I remember him standing there centre in the long margin".
trouble, and quite often, probably more stage, holding a card face out to the audi- The card was duly signed and Al had it
often than not, this writer has deliberately ence, with his body turned ever so slightly returned to the centre ofthe deck, after
shown the wrong card just to be able to to his right, because that was where the which he continued to shuffle the cards as
do the Top Change, notjust to get it right, spectator he was addressing was sitting. he talked, controlling the card to the top
but to produce one ofthe greatest card ef- He was saying, "Is that your card sir?" and of the deck [the Mahatma Control]. He
fects of all time, which is to show a person when the spectator agreed, he turned to drew attention to the balloon, and said,
a card and, without apparently doing any- point to someone on his left side of the 'aJVhat was the name of your card sir? The
rhing, it changes to another. Make a note audience, bywhich time he was holding King of Hearts? Watch this", as he riffied
of the words 'lvithout apparently doing the card face down, and asked, "And what the deck on top ofthe balloon, which
anything", because they are important. was the name of your card sir?" When the immediately burst, revealing the selected
I have had card men tell me that they spectator named his card, Harbin blew on card, with the signature on it. "There it
create the same effect by double lifting a the back ofthe card he was holding, then is", he said, "The King ofHearts", as he
card, turning it face down, lifting offthe turned it face out to show the change. picked up the King of Hearts in his right
top card, and placing it on a spectators I had seen others do the move before hand and approached the spectator, say-
hand, face down, and when the spectator then, but for me, this was the moment ing, "Ald is that your signature sir? It is?
turns it face up, the card has changed. I've I realised that I had to add this to my Thank you". Trick over.
got news for them. It isn't the same thing. armoury. Al had a duplicate King of Hearts
Let me re-describe the effect for you. One more memory of this sleight that loaded into the prop from the start, with
You are holding a card, sort ofat your will stick in my mind forever a squiggle, in red, which could resemble
fingenips. You show its face to a specta-
-Al Flosso,
The Coney Island Fakir. lrrr959l was in a signature down one side. The King of
tor. You now lower your hand so he can't NewYork, andAl invited me to come with Hearts selected by the spectator was
see the face of the card for a moment and him to a show he was doing at the Carlyle forced by means ofthe Classic Force,
when you raise the hand so he can see Hotel. Al had what I think is the most at which there were none better than
the face again, it has changed to another subtle use ofthe Top Change I have ever Al Flosso. After the duplicate appeared
card. That's it. That's the effect and, done seen, because it was done after the event, in the balloon, he picked it up and Top
properly, you have, in the eyes ofa specta- instead of, as is usual, before the event. Changed it for the original, which he had
tor, performed a miracle. There are three Ifyou don't understand that, please bear controlled to the top of the deck, on his
reasons why most people don't do the with me a little longer. way across the floor to the spectator.
Top Change: they can't do it, they haven't The effect he was performing was the The reason for using a picture card
got the guts, or they have never had it Card in Balloon. The prop he was using was that it guaranteed the position ofthe
explained to them properly, all ofwhich was, at that time, called Double Action. signature on the face of the card. If a spot
is a great big shame, because they really You could release the gimmick by pushing card was used there would be no way that
don't know what they are missing. Think- the pin that held it while you were hold- Al could know the position ofthe signa-

cARDs 67
ture on the card. By the way, Al's late son,
Jack Flosso, gave me permission to reveal
this method, so now you have it.
Well now, we have had a lot of words
about the Top Change, but haven't got
around to discussing or describing the
sleight itself, and there, if I may say so,
lies a problem, because using the Top
Change involves more than doing the
move. It requires a ceftain way of think-
ing, which has nothing to do with the
move itself. The spectator or spectators
must be offtheir guard at the actual mo-
ment of truth, and it is much easier to say
that than to make it a reality. I know in
myheart that there are some readers who
will never understand what I am talking
about. The spectators must be in such a
frame of mind that they are not expecting
anything to happen at that moment. The
move must be done on the offbeat. There
can, and probably should, be misdirection
involved, but we will come to that later.
The point here is audience control. If they
are not expecting anything to happen they
will be neither disappointed nor surprised
if nothing happens, and once you have
done the change, it should appear as if
nothing has happened. I know now that I card in an upright position, at the bottom and thumb that are holding the deck. In
should never have started this, but we will right hand corner. Note the position of this position you can spread those three
persevere. the hand. The deck is held deep down in fingers and allow a card to be placed un-
The sleight itself involves holding a the Ieft hand with the thumb across the der the deck by the right hand holding the
card in your right hand and the deck in back and the left forefinger across the end card at the corner as already described
your left hand, and secretly exchanging of the deck, with the tip of that finger on Just try doing that as you read this. It's
the card in your hand for the top card of the corner ofthe deck (Fig.z). It is not easy. Just place the card on the bottom of
the deck. That is what has become known unlike the position for dealing the bottom the deck.
as the Top Change, whether you leave the card, in that you can release the hold of There's more. If the left hand, holding
first card on top or on the bottom ofthe the other three fingers. It is the forefinger the deck as described, pushes the top card
deck, and this writer has three different offthe right side of the deck in prepara-
hand actions for three different situa- tion for the change (Fig. 3), we are ready
tions. The sleight is the same; the actions to go. Remember, that top card is pushed
are different-just a little. offlong before the change is made. Don't
wait until the last second, have it there,
Finst the sletght. Hold a card in your ready and waiting.
rigt hand by the first two fingers, at the Are you ready? The left hand is holding
fingertips, which are crossed with the card the deck at waist height, not too close
clipped berween them (fig. D. The face to the body, with the top card already
ofthe card and the back ofthe hand are pushed offhalf way. The right hand is
to the audience, and you are holding the displaying the card it is holding, about
shoulder high and ever so slightly to the
right (Fig. 4). The right hand now comes
down, more or less at a forty-five degree
angle, which naturallybrings the card face
down as it does so, and places the card on
the bottom ofthe deck.
Ifyou have done this action properly,
you will find that the bottom right hand
corner ofthe side jogged card on top of
the deck is directly above the tip ofyour

68 CARDS
right forefinger and below the tip ofthe same, but in reverse? Don't worry that As before, the left hand moves away to
right thumb, which is free (Fig.5). The last sentence doesn't make sense to me the left.
action ofplacing the card on the bot- either. Over the years I have read, and heard it
tom of the deck automatically places the Hold the card to be changed, in the said, that that your fingers should be seen
out-jogged card between the tips ofthe right hand, at the bottom right hand to be holding the card in the same posi-
right forefinger and thumb. Simply close corner as before, but this time with your tion both before and after the change is
the finger and thumb to grip the card, right thumb and forefinger (Fig. 8). The made, but I have chosen to ignore it.
and move the left hand away, taking the left hand is holding the deck in a normal Where do we go from here? Let's talk
top card with it (Figs. 6 and 7). The right dealing position, with the top card side about hand actions. A few paragraphs
hand remains motionless, but holding the jogged as before, and the Ieft thumb back, I mentioned that you bring the right
card. That's it, the change. You must do it across the back of the deck, holding the hand down to the left, and once you have
without looking at your hands, or looking out-jogged card in position. The right made the change, the left hand moves
in a mirror. Just do it. hand comes down and the card is pushed away to the left. You are in fact perform-
Now, for the sake of completeness we under the left thumb tip, and in this ing a see-saw action, as the right hand
will describe how to exchange your card position you can clip the out-jogged card comes in, the left hand goes out. Now
for the one on top ofthe deck, although it between the back of the right forefinger bring the left hand back and move the
isn't something that this writer does very and the tip of second finger. Ifyou think right hand out. This is the action I have
often. Would you believe that the actions about it, the fingering ofthe cards is the always used when performing an effect
and the final result are almost exactly the exact reverse of the previous description. which I titled...

cARDs 69
For the record, the idea wos givrn to me by It ls impontarrt that when you have a his selection, and pul1 out one card from
Ken de Courcy, who told me it was shown to spectator join you for this effect, to select the centre and place it on top ofthe deck.
him in North Africa during the t939145 War a card, he must not show the card to the This card has to be another Heart, and I
by an American soldier. He never knew the audience. The way to insure against him would use a Trwo of Hearts. You don't al-
soldier's name. What you will read is how I doing that is to explain to him, once he low your assistant to see the card.
interpreted it, dnd it will make it much easier is standing alongside you, what you want You are now going to ask him a
him to do. "Take a card, look at it, remem- series of questions and make a number of
for this uneducatedfool to erplainboth meth-
ods and actions as thE, happen, rather than ber it, and put it back in the pack". statements, and he is going to agree with
ditding them up into sections. Those are the actual words I use and it every word you say, although he doesn't
has always worked, so far. know it yet. You lift the top card, the Trwo
A spectator is invited to stand along- of Hearts, offthe top of the deck, and look
side you. He takes a card, remembers it, at it, and show it to the audience, and say,
and replaces it in the centre ofthe deck, "I think I have it".
which you now shuffle, during which you Hold the card up in the right hand, in
control his card to the top. You explain position for the Top Change, although
that you are going to try to find his card. you are not going to change it just yet.
We will assume that he has taken the Five Bring the right hand down to the left
of Hearts. You run through the deck with hand, and at the same time the left hand
the faces toward you, which is when you moves towards the assistant, as you point
note the top card ofthe deck, which is at him with the left forefinger, and say,

70 CARDS
'Your card was not a black card, was it?" agrees. Show the audience it isn't a high This will place your right hand, which is
He will agree with you. You now hold card. holding the card, almost under your left
up the card, again in position for the "It's a low card, isn't it?" He agrees. elbow forjust a fraction ofa second, while
change, and show it to the audience, but Show the audience it is a low card. your left hand is retracted. The right hand
without allowing your assistant to see Nowyou ask him to name his card places the card face down on the specta-
rhe face ofthe card, and you say to them, and proceed as already detailed. We tor's Ieft hand. Your hands more or less
"This isn't a black card is it?" mentioned audience control, and that is cross over, for a moment.
They will nod in agreement. The right exactly what you are doing, because every That's about it for the change, but,
hand is brought down to the left hand time you show the card to the audience after writing the above, I took the trouble
and makes the change and the left hand theywill look at you as you display the to re-read what Jean Hugard had to say
rravels out to touch the spectator's chest card, but when you turn to your assistant onthe subject in one ofhis cardbooks [in
almost, as you look at him and ask, ''0Vhat and gesture with your left hand towards More CardManipulations Series t, Part 2),
was the name of your card?" He will reply, him, they will look at him, because you and was tickled pink to see that he recom-
"The Five of Hearts". have asked him a question and theywill mends that you must never hold the card,
This will create a reaction in the audi- look at him to see his response. They will before the change, between the first two
ence, because they know the card you never notice a slight hiccup in the see-saw fingers, which is what I have done for
are holding is the Two of Hearts (?), the actlon. most of my life. I think that proves some-
srong card. Look at the audience and say, For close-up performance, I use the thing, and that is that it doesn't really
'$/trat did you expect?" Turn the card same sleight and fingering, but a different matter how you do it as long as it works
over to show that it really is the Five of performing technique. Imagine that you for you. So, go for it, any way you like, but
Hearts. are standing at a table which has a num- go for it. You will never regret it.
I must point out that you actually ask ber of people sat around it, and you are
a few more questions than described, but slightly leaning over the table, with a card
rve will detail them in a moment. The displayed in your right hand. The rest of
important point is that the hand actions, the table has seen the card, and you are
s'hich, as we have explained earlier, are a now holding it with its face towards the
see-saw action, and are performed several spectator nearest to you on your right.
rimes in exactly the same way every time, You are asking a question, like, "And this
ensure that when you make the change isn't the card?"
the action looks the same and they have You now bring the right hand down to
no reason to suspect anythinS. make the change, still looking this person
Let's make that very important point in the face, and as soon as the change
clearer. The right hand travels inwards, is made you turn to your left, pointing
and at exactly the same time, and speed, to the person on your left, and ask that
the left hand travels outwards. This is person to blow on the back ofthe card,
repeated several times as you talk. When before you reveal that a change has taken
r-ou make the change, the right hand trav- place. You should really start to point to
els inwards to meet the left hand to make the person on the Ieft with the left hand
the change, and then the left hand travels before you actually turn to face them. By
outwards. then, the change has been made.
I discussed this point once, in relation If you analyse the actions you will
to another effect, with Jerry Sadowitz, see that you are still waiting for the
and he dubbed it the monotony principle. first person's response as you make the
You do the same action so often that no change, and by the time they respond
one pays attention to it an)rmore, so if you you are facing the other spectator. This
make just a slight change in the action, or same set of actions can be used ifyou are
timing, it is never noticed. surrounded by a Sroup ofpeople who are
The questions are important because also standing.
they enable you to control the audience's For walk-around situations, where
attention. How? Following on from above, most people will be standing the actions
and before the final question where you are very similar but much more blatant
ask him to name his card, the questions ifyou are working head-on. You stand
you ask are along the lines of, "Ifyour facing the spectator, and display the card.
card isn't a black card, it must be a red Now bring the card down to the change
card?" He agrees. Show the audience the position, do the change action, but this
red card. time instead of the left hand travelling
"But it isn't a diamond is it?" He agrees. to the left, it travels forward, and to your
Show the audience that it isn't a diamond. right, a little, as you indicate the person's
"It isn't even a high card, is it?" He left hand and ask them to hold it out.

CARDS 77
This colour change is based on a DaiVernon Hold two cards as one at the short end, two cards apart with the lower card being
handling of the Tenkai Palm, described in in the right hand with the first two or pulled back into a grip in the right hand
The Dai Vernon Book of Magic. Whatfol- three fingers at the front and the thumb which has become known as the Tenkai
Iows was inspired by that effect, which was a at the rear. The face ofthe card is towards Palm (Figs. 3 and 4), as the left hand takes
card. switch. To understand it perfectly I hate the spectators, and you hold it about the upper card and raises it up to display
to erplain the card switch, and I want you chest high (Fig. t). What you are about to it, back out (Fig.5).
to realise that what I am explainingb my do is pass the card from the right hand to The effect is that you have passed one
interpretation of the Vernon card switch. the left. card from one hand to the other. The
To do this the right hand is brought card(s) are out ofview for just a fraction
down to about waist height as you turn to of a second. The remaining card in the
face left. The right hand turns so that the right hand is gripped between the pad of
face of the card(s) is to the floor, and its the thumb and the crease at the base of
length is pointing away from the specta- the thumb, which is a position into which
tors (Fig. z). At that moment the back of it slides almost naturally as the upper
the right hand is towards the spectators card is taken by the left hand.
and the card(s) is out oftheir line ofvi- The action of passing the card(s) from
sion. one hand to the other takes less than a
As this is taking place, the left hand is second and the spectators are never aware
brought up to meet the right hand and ofthe fact that the card(s) is out of sight
the right fingers and thumb spread the for a moment.

72 CARDS
 The left hand turns the card face out to picked up easily with one hand and no
show it has changed to another card (Fig. tumbling.
6). At this point, the right hand is still The five cards are held in the right
being held at waist height with the back hand exactly as the two cards previously
of the hand toward the spectators. The described. The right hand is brought
Ieft hand brings the card down and places down and the left hand comes up to meet
it into the right hand, under the Tenkai- it at the point where the cards are out of
Palmed card (Fig. 7), and instantly both sight. At that moment the right thumb
hands square the cards and turn them pushes the top card to the right and the
face up as one to allowthe spectators to remainder ofthe cards are eased back into
'realise'that only one card is used (Fig. 8). the Tenkai Palm.
With both cards held together as one,
you can now repeat the effect and change
the card back to the first one.
What this writer discovered is that you
can actually perform this effect with more
than two cards. Take five cards and place
the remainder of the deck resting across
the card case, which is on the table. The
reason for this is so that the deck can be

CARDS 73
This is a move that enables you to idea thinks it's important, maybe it is. I view Fig. r, side view Fig. z).
switch one card for another while the actually came up with a couple of ideas The card on the table should have one
card is lying on the table face down; in for the switch which I think are of some ofits long edges towards you. The left
the action ofturning it face up, the card is worth. Let's explain the switch first, hand approaches the tabled card from
switched. I don't remember when I came which, it has to be said, owes a great deal above, lining up the deck to match the
up with this move, but it was certainly in to Paul Curry, who was probably the first position of the tabled card (Fig. z). The
the early r95os. I remember showing it to come up with this type of switch, while left forefinger is placed on the furthest
to Larry Jennings the first time I met him holding the deck in the same hand. right corner ofthe tabled card and presses
and that was in ry69. Larry had shown me There is a card lying face down on the down on it, which will cause the inner
his One-handed Second Deal, which had table, and you are going to switch this right corner to be raised a hair's breadth.
a "get ready''action, and I told him I had card for the one on the bottom ofthe The tip of the left thumb can now lift this
a completely different move which had deck, in the action ofapparently, turning inner right corner, and, sliding under it,
a similar "get ready''. The switch subse- the card on the table face up, and it is all press the card gently against the face of
quently appeared in his book, without done bythe left hand only, which is hold- the buckled card (Fig. 3). The left fore-
credit. I have already said I don't remem- ing the deck. finger is now curled inwards and inserted
ber when I came up with it, but it was The deck is held low down in the left into the gap created by the buckled card
included in my lecture notes around that hand, face up, with the face card buckled, (ris.+).
period, and they were reprinted by Magic for its whole length, by the middle and The situation is that the two cards are
Inc. of Chicago a fewyears later,inr973, ring finger. This is the get-ready position. being held between the forefinger and
and that was manyyears before the Jen- From now on, the left hand is always held thumb, and you can now swivel the two
nings book appeared lThe Classic Magic of palm down. The left forefinger and thumb cards, making them change position, as
Larry Jennings, 19861. should have absolute freedom of move- the left hand is raised from the table to
I'm not sure that any ofthis is really ment. The face card is buckled by means place the buckled card face up on the
important, but if the guywho copies your ofthe second and third fingers (exposed table.

74 CARDS
 If you wish, the card can be switched audience spotting anything untoward. By effect, the cards were kept separate on the
by picking it up and apparently passing it dividing their attention, they don't actu- table.
from the left hand to the right hand. One ally look at either hand, theyjust get an In this case, the performer places a
advantage ofthis method is that as soon overall picture ofboth hands turning the card face down on the table. The match-
as the left hand releases its hold on the cards over. ing card is on the bottom ofthe deck. The
card, the left hand places the deck on the When I first devised this switch, I deck is now spread face down on the table
table, face down. It can be made to look as showed it to Eric Mason, who got the and a spectator is asked to push one card
if the left hand almost wasn't involved. hang of it very quickly, and some time lat- forward. When he does so, the performer
Still another way is to pick the card up er found another use for the move, which picks up his card and drops it face down
from the table and casually toss it across annoyed me because I hadn't thought of on top ofthe spectator's card, pointing
the table to someone. With this one, you it first. What Eric discovered was that you out that his card was placed down first.
have to be careful ofyour angles, espe- can have two cards face down on the table He then gathers the deck and holds it in
cially is someone is sitting to your right. and in the action ofturning them both the left hand, in readiness for the switch.
Make sure they don't get a flash of the over with one hand, you can switch one of You now go through exactly the same
buckled card too early. the cards. motions as before, and you will find that
Most of the effects with the Curry The effect is that the performer places your left thumb will pull the spectator's
Switch should be possible with this one. a card face down on the table. The specta- card back, onto the bottom ofthe deck as
AI Koran pointed out to me and all and tor then places a card face down on the before, as you place the original bottom
sundry in one of the Lewis Ganson books, table. When both cards are turned over, card ofthe deck, plus your prediction
that ifyou have two cards face down on they are seen to be a pair, such as two red card, face up on the table. That there is
the table and you turn them both face Queens, or t'wo black Sevens. This is the an extra card doesn't seem to affect the
up at the same time, one with each hand, same effect described by Koran in the sleight.
you can do the Curry Switchwith one Ganson book, but the switch is done by
hand, thereby reducing the chance ofthe one hand, rather than two. In the Koran

CARDS 75
One of the unfortunatefacts of life concern- In a book such as this it would be stack you've already learned.
ing anything one may wrtte about a Stacked criminal to leave out what is really basic So, just for the hell of it, let's talk about
Deck is the fact that you will probably be information. the Stacked Deck. When did I become
rqeating a whole lot of information that is There are all sorts of stacked decks for aware of such a thing as a stacked deck?
already available in dozrns ofbool<s con- all sorts ofpurposes, but here we are only It was in one of the Hoffmann trilogy of
cetned with card magic. Unfortunately, you interested in the complete Stacked Deck books that I learned the rh1.rne, "Eight
are stuckwith it. as used by the writer, namely what has be- kings threatened to save ninety-five
come known as the Eight Kings Stack and ladies for one sick knave", and proceeded
the Si Stebbins Stacked Deck. The reason to have people select a card and I knew
for this is the simple fact that these are which card they had taken instantly. The
the only two stacks with which the writer great thing I discovered about a stacked
has had any real performing experience. deck was that you could do tricks immedi-
There are other complete deck stacks ately. No long bouts ofpractice, Iike the
with which you can probably perform billiard balls or thimbles, which I was into
most of the items described in the ensu- at that time. No, with the stacked deck, I
ing pages. Ifyou already use a stacked could do tricks now.
deck, there is probably no need to change Just a few years later, Chan Canasta,
to either ofthe above named stacks. Just one of my favourite performers, appeared
check to see ifyou can do whatever takes on the scene, and became a television star
your fanrywithin these pages with the with an act which depended very heavily

ZB THE srAcKED DECK

on a Stacked Deck. Would you believe he to any card named by the spectators, with very well, but informed me that you had
used the Eight Kings Stack? He did. I must variations. He could locate and reverse to keep in constant practice with it. A few
confess that he influenced my perfor- a named card in the course of a few weeks lay-offand you had to put some
mance of the Stacked Deck at that time. cuts and shuffles, so it would show up more work in on it.
I didn't actually steal any ofhis routines Brainwave-Deck fashion, although I doubt These days, I don't see too many
because I was into getting laughs from my whether he had heard ofthe deck at that people using a Stacked Deck. Maybe they
audiences, but he did have an effect on my time. By cutting and shuffling he could think it takes too long to learn. Maybe it's
thinking, especially in the area of locating place a named card at a named number because there is no need for the Elmsley
and forcing a named card. in the deck. He would have a spectator Count. Past its sell-by date? I doubt it. We
Almost around the same time, which name a card, have that same spectator cut have mentioned a few people who made
rvas perhaps t952fi, I saw a street magi- a packet offthe top ofthe deck, and the good use ofthe stacked deck, and they are
cian called Charlie Edwards performing face card of the spectator's packet would all professionals, and with the exception
at the Unique Magic Club, which was be the card. He was good. No - with a of Bert Allerton they all worked in the
operated by English magic dealer Harry stacked deck, he was the best. Later I met United Kingdom. I apologise for not men-
Stanley. Charlie had onlyjust started another street magician called Dick Tur- tioning many others who worked in other
fraternising with magicians at that time pin who also used a Stacked Deck but not countries, I just didn't get to see them,
and he was getting on in years. I got to to the same standard as Charlie Edwards. but would ask anyone who may have seen
know him quite well, and later saw him Dick's forte was in other directions. them to make a mental note of what they
perform in several street markets in Lon- Robert Harbin told me that when did. I am really talking about performers
don. He sold instructions for the magic he and Len Wallace were both working from the past. If someone actually made
tricks he performed plus a few gimmicks behind the counter at Gamages magic a living with something, that something
like Anti-gravity Glasses, the Blow Book depanment they both took a deck and should be important to all of us.
etc. Charlie performed maybe half-a- after giving it a thorough shuffie, sat down There is one point that bugs this writer
dozen effects and, to this day, I think he and memorised the order. Years later, about the writings ofothers on the sub-
performed those half-dozen tricks better Christopher Pratt, under the tuition of ject of the Stacked Deck. Most of them
than anyone else I have ever seen perform Len Wallace, repeated it. David Berglas claim that either you cannot, or should
any one ofthose effects. One ofthem did a similar, but much more subtle thing not, let anyone examine the deck. I have
was the Stacked Deck. I bought the secret by memorising the order of a new deck read that even a casual glance at the deck
from him for sixpence, and what I got was supplied and manufactured by the Leeds would reveal that the cards were arranged
a small piece of yellow paper, obviously Playng Card Co. Their cards were always red-b1ack-red-black, etc. I have read that
printed on a small home printing outfit. in an apparently random order and were in a Si Stebbins Stack a spectator would
On the other side ofthis piece ofpaper, available in Woolworth's stores all over realise that they were arranged numerical-
through which the printing ink from the the country. This enabled David to ask ly. Well, from experience I honestly don't
first side had seeped through and made anyone who booked him to purchase half think so. I started using a Stacked Deck in
it very difficult to read, was the following a dozen decks from Woolworth's, and the ear$ nineteen fifties, and I swear to
information, which had been applied to on the night they could choose one of God that in all those years no more than
the paper with a rubber stamp. the decks for him to use. This is magical perhaps half-a-dozen people have said,
thinking of a high order. "Can I look at the deck?" and out ofthem,
Arrange the cards as follows: In the Bert Allerton Book mention is only one said, "They seem to be red-
made of the fact that he did a card stab black-red-black'. I immediately gave the
ACE Nine KING using a stacked deck, plus one other ef- deck aZarrow shuffie on the table, and
Two Eight QUEEN fect. This is a great piry, because he was asked, "Happy now?", he said,'Yes", and
Three Seven JACK one of the few people at that time who I carried on. For the record, the others
Four Six Ten Five actually earned a very good living from were all looking for either a Stripper deck
HEARTS SPADES DIAMONDS CLUBS performing close-up magic. The effects or a Svengali deck. Theywould either take
they actually performed should be impor- one card, reverse it, stick it in the middle
The above is exactly how it was tant to us. Allerton used the Laurie lre- ofthe deck and try to strip it out, or they
printed. It looks as ifthe Ace, T\uo, Three land Stack, which can be found in lreland would start riffling the cards first one way
and Four were all Hearts, but in fact Writes ABook. or the other. In short, they didn't know
Heafts, Spades, Diamonds, Clubs was the We are still just talking about Stacked what the hell theywere looking for; they
suit sequence travelling through the A 9 Decks. The Nicola Stack was the one just wanted to see the deck.
K z 8 Q 3 7 J 4 6 ro5 which was repeated that was hailed as the be-all and end-all I am convinced that unless a specta-
four times throughout the deck. I played of stacked decks. It probably was, and tor knows exactly what he is looking for,
around with this stack for a while, but as is. Personally, I could never quite get my he will not find anything. If he is looking
I already knew the Eight Kings Stack, I head round it, all those years ago. I prob- for an arrangement he will find it, given
didn't see any need to learn another one. ably could now, but there is no need any a couple ofhours to look at the deck. I
Charlie had one false shuffie which he longer. The thirst for something new is use the Eight Kings Stack and apart from
could perform on the table or in mid-air. still there but the hunger has gone. Jack the suit sequence, no one card has any
His routine consisted mainly of cutting Emerson, used to handle the Nicola Stack relationship to the cards either side of it.

THE STACKED DECK 79

There is a mathematical sequence in the 8C 8H 8S 8D The arrangement ofthe key cards from
Si Stebbins Stack, but a spectator would the top of the deck down is S,z,Q,J as
have to be very astute to spot it with a KH KS KD KC opposed to the A,K,Q,J in the Si Stebbins,
perfunctory glance. There has been the but they are still in the same positions
odd occasion when someone has suggest- 3S 3D 3C 3H of One, Five, Nine and Thirteen in each
ed I am using a marked deck, to which I quarter section of the deck. I know I have
just laugh and inform them that I stopped roD roC loH roS already said so, but from experience I
using marked cards when I was fourteen, know you need reminding, occasionally.
when my eyesight started deteriorating. zC zH zS zD For more on this, see "The PaPa System
At my age I have trouble seeing the faces Plus Si Stebbins", below.
of the cards, never mind little marks on 7H 7S 7D ZC There is a school ofthought that be-
the back. lieves that a memorized deck is superior
9S 9D 9C 9H to a rotation stack that has not been
What you have just read is exactly how committed to memory. It probably is,
it was run in Genii magazine in March 5D 5C 5H 5S for some purposes-perhaps even most
1999. Not mentioned in that article, purposes-but in comparing it with either
deliberately, was why I continued to use QC QH QS QD the Eight Kings or Si Stebbins, combined
the Eight Kings Stack in preference to the with the PaPa System, it has one major
Si Stebbins. There is a reason: Because of 4H +S 4D +C disadvantage. After the deck has been
the rhyming couplet: cut, the only method to keep track of
AS AD AC AH the situation is mathematical. Because
Eight kings threatened to save, ninety-fiue the PaPa System operates in sections of
ladies for one sick knaue. 6D 5C 6H 6S thirteen cards, it is possible to visualise
the situation in your mind. This remark is
Which represents: JC JH JS JD not intended to denigrate the memorised
stack, but simply to point out that there is
Eight, King Three, Ten, T\nro, Seven, a simpler way. Robert Harbin always used
Nine, Five, Queen, Four, Ace, Six, Jack. the memorised stack, and said it was the
only way. You pays your money and you
You will flnd that when someone takes your pick.
names a card, you can visualise its posi- So let's get down to basics. Yes, what
tion quicker than you can with the Si you have read so far from the Genii article
Stebbins, if you immediately think of and the few extra lines I have added to it
the rhyme. If they name a key card, you is not basic. It was written for a magazine
should knowwhere it is instantly. If they with a fairly large percentage of knowl-
name a non-key card, the rh)rme leads you edgeable performers or scholars, ifyou
to the nearest key card faster, with almost Iike. We are now going to take a few steps
no thought at all. backwards for the benefit ofthe new-
ltthe Genii article I made mention of comer. Most of what follows will refer to
the key cards in the Eight Kings Stack, the use ofthe Eight Kings Stack, unless
but for the record the arrangement of the otherwise stated.
deck is as follows with the key cards in
bolder print.

80 rHE srAcKED DEcx

 SU

Both tlre Etght Kings Stack And the Si the top. All cards of a similar value, the forcing the card. With the stacked deck
Stebbins Stack are known as rotation four Sevens, four Tens, etc., are thirteen the spectator can have a truly free choice
stacks. Ifyou cut a small packet ofcards cards apart. Ifthe top card ofthe deck is a of card and still you will know which card
offthe top ofthe deck and place them on Jack, the fourteenth, twenty-seventh, and he has taken. The problem is, how do you
the bottom, you actually alter the position fortieth cards will also be Jacks. There is use this knowledge? One of the major
ofthe cards in the deck but they are still no need to try to memorise any of these problems with the majority of literature
in the same sequence. Ifyou now cut an- facts. Once you start playing around with devoted to the Stacked Deck is the lack of
other small packet offthe top of the deck a stacked deck, most of it will become actually performable effects which have
and place it on the bottom ofthe deck, obvious. been devised for it. Most often you will be
the same rule applies. Al1 fifty-two cards One of the major strengths of a Stacked told how to discover the name of the card
are still in exactly the same sequencel it's Deck is that as soon as a spectator re- that has been removed, but not much
just that the whole sequence starts with moves a card from the deck, you know else.
a different card on top ofthe deck. Ifyou instantlywhich card he has taken. All you Sometimes, especially in more modern
turn the deck face up and split the cards have to do is look at the card above the writings, they will explain how to calcu-
at the original top card and transfer all selected one. As soon as you know this, late the position of any card in the deck
the cards below it to the bottom of the you simply think of your sequence and after it has been named by a spectator. In
deck and now turn the deck face down, it the next card in the sequence will be the both the aforementioned instances, it is
will be as you started. Al1 the cuts in the card the spectator has taken. The easiest rare to find advice on the use or uses to
deck you have made will not affect the way to do this is by separating the deck which this information can be applied. A
sequence. where he removes the card and placing spectator takes a card and you immedi-
From the above you will realise that the upper half ofthe deck under the lower ately know its namel now what? A specta-
you can offer the deck to a spectator half. A quick glimpse of the bottom card tor names a card, and you instantly know
to cut and complete the cut. The deck will give you the information you need. It the position ofthat card in the deck; now
cannot, under most circumstances, be will also retain the sequence ofthe cards, what? A spectator calls a number and you
shuffied. There are exceptions, but we will so that when the spectator returns the know the card at that position in the deck.
come to them later. card to you it can be placed at either the One more time, what do you do now?
In a rotation stack, matching cards, top or bottom ofthe deck without affect-
such as two red Kings or rwo black Sev- ing the sequence.
ens, are always twenty-six cards apart. If There are instances where a performer
the top card ofthe deck is a red Five, the needs to knowwhich card a spectator is
other red five will be twenty-seventh from holding, and quite often he will resort to

THE srAcKED DECR 8r

 This is dfficult, because different performers An alnrost pnenequisite if you are it a little perhaps, alter the handling
handle cards in different ways. Most, but not performingwith a stacked deck is the slightly, but to stop doing it because
all, of this writef s erperience with d stacked ability to perform a convincing False something new has come along ... ???
deck has been in a stanil-up ituation rather Shuffie keeping the complete deck in There are two answers to the question
than close-up. There is no particular reason the same order. All the close-up exPerts you are asking yourself. The Charlier false
for this; if s jtrst the way it happened. I have will, no doubt, plump for either the Push shuffie and the Street Magician's false
performedhundreds of times with a stacked Through, ortheZafiow False Shuffle, shuffle, and I call it that because I learnt
deck,but mentall! I think stand-up when I'm which are both perfect for close-up situ- it from Charlie Edwards, and later saw it
doingit. ations . This writer prefers the Zatrow, being used by another street magician,
for the simple reason that he was never Dick Turpin, a wonderful character whom
happywith his performance of the Push I first saw performing in Charing Cross
Through. Road in the centre ofLondon. Although
Having said all of that, it will no doubt Dick did perform and sell tricks, he was,
surprise you to know that, apart from the certainly in his later years, more of a
very occasionalZarrow shuffle, he uses busker than a pitchman. He used to per-
neither. The reason for this is that he is form in pubs in London and pass the hat
very old, and very old-fashioned, and is of afterwards.
the opinion that if something has worked Let's get back to the false shuffie, it's
successfully for a long time, there is no a sort of riffie shuffie but without the
real need to change it completely. Adjust waterfall effect at the end and can be per-

8z rHE srAcKED DEcK

formed in mid-air or on a table top, and You can stop the apparent mix at any Whenever he took cards under the
I am sure (without researching it) that it time by placing one packet on top of the right hand packet, the right hand would
has appeared in print before somewhere. other and, in effect, all you have done is draw them offthe left packet by mov-
It really is a sort ofbluff shuffle, and given the deck a complete cut - and as we ing sideways to the right and then down,
requires a certain amount chutzpah to know, cutting the deck and completing slightly-almost snapping them off the
perform. the cut does not alter the sequence ofthe left packet.
Hold the deck from above in the right cards in the stack. When he took cards under the left
hand, four fingers at one end, and the This writer does it a few times with packet, the left hand would move for-ward,
thumb at the other with a long edge the deck face down, then turns the deck then downward slightly.
towards the spectators. The thumb riffies over and does it with the faces up, during This sideways and forward motion
half the deck on to the waiting left finger- which actions a running commentaryis broke the shuffie up and, combinedwith
dps and the right fingers tip the bottom made along the lines of, "And you will no- the taking of cards from either end of
half of the deck up into the left hand, tice that I don't even look at the cards as each packet, created the wonderfrrl illu-
s'hich takes hold of this half in exactly the I give them the sloppiest mix up you have sion ofa genuine shuffle.
same position as the right-hand grip on ever seen in your life", and it is important The casual, carefree nature ofthis
the other half. that you don't actually look at the cards shuffie made it remarkably deceptive and
At that point both hands pivot the during this false shuffle. I've used it myself for many years. Per-
outer ends ofboth halves ofthe deck This shuffie was devised by an almost formed face up, the audience is instantly
outwards, just a little, and the thumbs mysterious figure called Charlier, who ap- convinced that the order ofthe deck is
start to riffie the two for-ward corners of parentlywas around in both London and changing al1 the time.
the deck together. Once the two halves Paris in the latter half of the nineteenth Pat kept the deck relatively neat when
have been riffled together, both hands century. Very little has been written about he used this shuffle. To accomplish this,
pivot forward together, which releases the him and there are no photographs avail- he only mixed the packets a few times. I
interleaved cards at the rear ofthe deck, able, just one little pencil sketch showing like to let them get very messy, which can
and at the same time the right hand raises an emaciated head with a pointed nose add to the illusion, greatly.
its half of the deck slightly, up on top of and chin, capped by a tall top hat. Who-
the other half of the deck. Looking at it ever he was, this writer owes him a debt PaulWilson
-R.
from the front, the whole deck is more or ofgratitude.
less hidden from the spectators' view by In addition to false shuffies, the deck What follows is selection of effects
a
the backs ofthe fingers ofboth hands as should be cut continuously and at a with a Stacked Deck,all of which are prac-
they are brought together. It is important reasonably fast rate, to give the impres- tical. Some of them have been published
to note that the whole series of actions sion that the order ofthe cards is not before, some not. We will begin with
must flow in such a way that the specta- important. You can stop the cutting and the simplest, in which a spectator has
tors are unaware ofthe fact that the deck shuffling anytime you wish and simplyby selected a card. We are now in a position
is actually out ofview for a very short looking at the bottom card ofthe deck where we knowwhich card the specta-
period. It should look as ifyou have riffled you will know the sequence stafts from tor is holding and we have to reveal that
the two halves together and squared up there, but beginning with the top card of knowledge in a magical, surprising, or en-
the deck. the deck, which will be the next card in teftaining manner. Remember those three
The Charlier False shuffie is the other the sequence after the bottom card. What words - magical, surprising, entertaining.
one I use most often. this writer usually does at that point is cut Ifyou can make the revelation ofthe card
Hold the deck in the left hand at a long the deck face up to try to bring a Jack (the magical or surprising, it will usually come
edge, thumb on top and four fingers un- last card in the Eight Kings stack) to the under the heading "entertaining" also. If
derneath. The left thumb pushes half the face ofthe deck. The deck is now turned your effect comes under at least two of
deck offto the right, into the waiting right face down, and you are ready to start. those headings it usually spells success.
hand, which takes hold ofthe halfdeck Now back to the effect in hand. You
in the same grip as the left hand, thumb lEditor's note: R. PaulWilson, the Scottish know the card the spectator is holding.
on top and fingers underneath. The right card and gambling expert who was afriend We are now going to describe several
thumb now pushes a few cards offthe top of Paf s, added the followxng to the descrip- methods of revealing that knowledge to
ofits packet to the left, and the left hand tion of the Charlier Shufie abow.) make what we call a magic trick.
accepts those cards on the bottom ofthe
cards it is holding, opening three fingers When Pat used the Charlier shufle, it
on the bottom of its packet to accommo- often fooled his fellow magicians, even
date them. those supposedly familiar with the tech-
The left thumb now pushes a few cards nique. I asked him about it one day and he
off the top of its packet and they are began, in typical fashion, by stating that
placed on the bottom ofthe right hand it was the same shuffie I had read years
packet. These actions can be continued ad before. In fact it was the same shuffle, but
Iib, but all you are really doing is cutting Pat had added a simple touch that made it
the deck. twice as deceptive.

THE srAcKED DECR 83

l. Take the card from the spectator and 4. Ifthe spectator holding the card is 7 Ask the spectator to hold the card at
place it face down on the palm ofyour a lady, ask her to hold your hand, and his eye level and stare at it for a moment,
hand and explain that you can tell its ask her to recite the name of the card to then look you straight in the eye. Explain
value just by the weight of it. Raise the herselfover and over again, and as she is that by staring at the card they retain an
hand up and down slowly a few times and doing so you name the card as if you were image of the card on their pupils which
name the card. reading her mind as she names the card you can see if they look at you immedi-
to herself. ately after staring at the card. You now
8. Turn your back and ask them to place name the card.
the card into your hands behind your back 5. Say, "Can I see your palm" Look at the
and explain that you can tell the name palm and as you trace the tip ofyour fore-
of the card simply by touch. Turn to face finger down the life line, heart line, etc.,
them and name the card. you say, "It's a black card. It's a Club",
now look up at their face and say, "And by
& Say,'1Mi11 you show the card to all the smile on your face I would say it's the
your friends and when they have all seen Five of Clubs". (Name the selected card.)
it put the Three ofClubs back on top of
the deck". (You name the selected card). 8. "Give me a number up to one
Say,
Time your words so they have time to hundred", and when they do, say, "Anyone
show the card around. who says sixty-eight must have taken the
Six of Hearts". (Name the selected card.)

84 THE srAcxED DEcx

You will realise that most of what we have Thene a.ne occasions when it may add the bottom as usual and this will place
iust dbcussed comes under the heading of to the effect if, as you ask the spectator the matching card of his selection in
'quickies". Almost all of them can be de- to take a card, you say, "Don't look at it, twenty-sixh position from either the top
sc'ribed as "you take it and l'll name it" kind just hold it in between both hands". The or bottom ofthe deck. Say to the specta-
of efect. The sec:ret is in the presentation of surprise comes when the spectator looks tor, "You have taken a card and you don't
the naming of the card. at the card to veri4r that whatever method knowwhat it is. Well, I'm going to select
you have used as a revelation has been one". Spread the cards from the Ieft hand
correct. Here is one example. to the right, still face down, and count the
Have a card selected and instruct the cards as they travel from hand to hand.
spectator not to look at the card but place Don't count them one at a time. Push
it in his jacket pocket. Say, "Al1 I have them across in threes or fours, as ifyou
to do now is look through the deck very are not too sure which card to take, until
quickly (do so by riffiing the end of the you come to the twenty-sixth card. Take
deck and looking at the cards as they flash this card from the spread and turn it face
by), and make a note ofthe card that is up. You now say, "Look, I've taken a black
missing from the deck. This time it's the Seven, which card have you taken?", and
Four of Hearts". To do this you have to when the card is removed from the pocket
split the deck where the card is removed it proves to be the other black Seven.
and transfer the upper half to the bottom. I actually discovered the fact that
In the action of riffling the deck, you note matching pairs were twenty-six cards
the bottom card which gives you the in- apart for myself, back in the early nine-
formation you require. The spectator now teen fifties, and, although I hadn't, at that
has to remove the card from his pocket to time, seen it in print, I am sure many
check that your statement is correct. others did also.
Another example of this ploy is one I published a card stab effect in the
which uses a rotating stacked deck. This Genmagazine in April 1954. I explained
is a deck in which matching pairs of cards, this to Al Koran several years later, and
such as two black Kings or two red Sev- he subsequently did it on television in
ens, are twenty-six cards apart. The Eight England and published it in a book called
Kings and Si Stebbins setups both come Professional Presentations. The only reason
into this category. I mention it here is to forestall any criti-
Have someone remove a card from cism I may receive for including an effect
the deck without looking at it, place it in ftom a well-known performer without
their pocket, and split the deck at that crediting the originator. I have. It was me,
point. Put the upper halfofthe deck on and this was it.

THE srAcKED orcx 85

 o

The efiect ls similar to the one we have to be the matching card, e.g. rwo black the knifepoint is inserted into the deck
already described in that a spectator cuts Threes. to take a peek at the card index. Ifyou
the deck and, after removing the top card, Because you know the card you require have the wrong card, simply withdraw
he places it in his pocket without looking is at the exact centre ofthe deck, it is not the blade and square up the deck again,
at it. You now take the deck and insert too difficult to place the point of a knife murmuring things like, "This is difficult,
the point of a knife into the centre of the into the deck at that point. Bear in mind but I'll get it", and try again.
deck. that you can be either side ofthe card you
The deck is separated at that point and require, which gives you a little leeway. In
the card, either above or below the knife, addition, by looking at the bottom card
is removed. When the spectator brings of the deck, you know which card you are
forth his card from his pocket, it is seen looking for, and it is a simple matter as

86 THE srAcxED DEcx

 o

Asts a spectaton to cut offthe top half so that it is face up, bring it forward, and the table, all you have to do is note the
of the deck and place it on the bottom. If place it
on the table. card at the face ofthe deck. The reversed
he isn't sure of what you mean, demon- The deck is now face up on the table card will be the next one in the stacked
strate it for him, several times if you have andyou point out to him that even if deck sequence.
to. Once he has the idea ask him to place you did get a glimpse of the card he has Ifyou perform this effect seated at a
the deck behind his back and repeat the turned over, you would only see the back; table, the spectator can place his hands
action. While the cards are still behind and yet, even without seeing the card, under the table to perform the cutting
his back, ask him to take the top card of you know the name ofthe card. You now and reversing actions, rather than place
the deck and turn it face up, then insert it name the card and when he checks, you the deck behind his back.
into the centre of the deck. When he has are corect. By now you should realise
done this ask him to turn the deck over that when he places the deck face up on

TttE srAcxED DECK 87

1. In this instance, instead ofhaving one All the spectator's cards will follow on cards to distribute them around the table,
card selected, you ask the spectator to from this one. While calling out the cards, one to each person. You now call out the
take a bunch of cards-say, seven or eight. you hold the deck in a face-up position in cards as before but they are returned to
Once the cards have been taken, instruct the left hand and retrieve the cards one you by different spectators.
the spectator to mix them up thoroughly. at a time with the right hand. As the cards This effect, in the hands ofan experi-
When this has been done the spectator are returned you place them face up on enced performer, can be enhanced by a
is told to hold the cards in front of him, the face ofthe deck. This gu.arantees that little subtlety.
spread out, so he can see all ofthe cards. the cards are returned to the deck in their Instead of naming the cards directly,
You now say to him, 'nVill you hand me original stacked order. The shuffling of you use an oblique approach, by saylng,
the Ten ofClubs?", which he does, You the cards while they are in the spectator's "One of the cards is a picture card". Oc-
now ask for the TWo of Hearts, with the hands has no bearing on the outcome, and casionally there will be more than one
same result. From this point you now pro- is merely dressing. picture card. Quite often, a person hold-
ceed to name all the cards he is holding, ing a picture card will look at their card
with the spectator handing them to you ?- This efiect is very similar to the previ- and smile. If there is only one picture card
one at a time as you name them. ous one, but is particularly suitable for out there, you can point to that person
The procedure is exactly as with one performing to a group of people sitting and say, 'You are holding the Queen of
card. You split the deck at the point where round a table, or at a small dinner party. Clubs". The same rule holds good for
the cards are removed, and place the You have a bunch ofcards removed from "low card" or "high card". Ifthere is more
upper packet under the lower packet. As the deck and thoroughly mixed as before. than one card out there under the same
before, you glimpse at the bottom card. You now instruct the person with the category you continue with, "Is it a red

88 THE srAcKED DECK

card?" You can usually spot the person Push this card back down into the fan, Al1 the spectators are now instructed
holding the low red card. Don't worry if replace the cards on top of the deck, and to open their envelopes, and when they
you get no reaction. You can still go ahead you are back where you started with a do so, each person finds they are holding
and name the card and someone will hand complete Stacked Deck. their original cards.
it to you. With a little practice you can Okay. Once the deck is cut and the cut
make them think that you know which 6. In this effect a prediction contained in completed, all you have to do is look at
person has which card. an envelope is handed out prior to having the bottom card ofthe remainder ofthe
someone select a group ofcards. Have deck, and you know the name ofthe first
3. /fssuming that you have understood the spectator shuffle the cards thoroughly card removed by the spectators. All the
all of the points we have made so far and hold them with the faces spread out other cards follow on from this card in
regarding multiple revelations, we would towards himself. Start calling the cards the order ofyour stack. The envelopes are
like to add a kicker designed to get ap- until he has only one card left. Now have handed out before the cards are selected
plause at the end ofthe effect. the person holding the prediction read it and they are marked with pencil dots on
At the commencement of the effect out, and they read, "The very last card will different parts ofthe envelope. The en-
you have a bunch ofcards selected and be the Nine of Clubs". velopes are handed out from left to right
immediately, you say to the spectator When the spectator turns his last so you know which person has which
holding the cards, "Take the top card, card round the prediction is proved to envelope. Later, as you hold each enve-
don't look at it, and put it in your pocket". be correct. The method is to make sure Iope up to your forehead you simply note
You now proceed as before by having that when the spectator takes a bunch the marking on the envelope and hand it
them mixed and distributed around the of cards, the card written on the predic- to the appropriate person.
table. Once all the cards are called in, you tion is among them. It is a sort of Classic The fortune-telling bit, or the predic-
are in a position to say, "There is still one Force, but because you have asked the tion, is based on a system the writer has
card left, and no one, not even the person spectator to take a group of cards, they been using all of a hundred years it seems.
who chose it, knows which card it is. Sir, are less likely to assume that you are try- It is fully described in a small booklet
will you bring out the Five of Clubs and ing to make them take a specific card and called F o rb idd en W is dom, by Howard
show it to everyone?" He does so. Result: will be offguard. Albright, and was published byAbbott's
Applause. This prediction idea ofthe last card in a Magic Manufacturing Co. in Colon
group came from a manuscript detailing a Michigan, USA. If you are into light-
4. Have a spectator take a bunch of rather long routine by Billy McComb and hearted fortune telling, and that's the only
cards and, after splitting the deck and Ken de Courcy. description I can give it, then this book
noting the bottom card, place the deck is a gem. It deals with cards, tea leaves,
aside. Take the cards from the spectator 6. A numben of envelopes are handed palmistry etc.
and fan them face down and ask him to out. Someone is asked to cut the deck and
take a card. Because you know the bottom complete the cut, perhaps several times.
card ofthe deck, the top card in the fan Each spectator with an envelope is asked
will be the next one in sequence, so it to take a card from the top ofthe deck,
isn't a difficult task to figure out the card look at it, remember it, and seal it in the
he has removed. Hand him the remainder envelope. The envelopes are gathered up
ofthe cards in the fan and ask him to by a spectator and mixed, before being
replace his card and mix them up. handed to the performer. The performer
The situation now is that the spectator takes one envelope at a time and holding
is holding a small packet of cards and you it to his forehead, divines which specta-
know the name of the card he is thinking tor had that envelope and hands it to that
of. How do we capitalise on this informa- person. All the envelopes are handed out
tion? We could just name the card, as in this manner, to the original holders,
always, but here is a better idea. with instructions not to open the enve-
Take the cards from him and spread Iopes. The performer now points out that
them out in a fan with the faces towards the only way the spectators can be sure
you and start to shift them around to that he has returned the correct envelope
different positions, as if you are trying to to each person would be for them to open
figure out which card he is thinking of. In the envelopes and check that the card
fact, you are rearranging the cards back inside is the one that they placed there.
into their original positions. Once this is The performer tells each person to
done, you pull one card up and leave it think of the name of the card they placed
projecting from the fan. At that moment in their envelope, and he proceeds to tell
you ask him to name the card he selected, each person which card they are think-
and when he does, you turn the cards ing of. In the course of this, he manages
round to show that the projecting card is to make a little light-hearted prediction,
the selected one. based on the name ofeach card.

THE srAcKED DEcx 89

If you hanre a spectator take six or seven question you should be able to name vided you actually know the selected card.
cards in a bunch and ask him to look at the card immediatelywithout too much Ifyou try this effect and think you
and just think of one of them, it is pos- effort, ifthere is only one picture card in have the hang of it, try this. After appar-
sible, with the aid of a couple of ques- the group he is holding. If there are two ently miing the cards, hand a spectator a
tions, to guess the card he is thinking of. picture cards there, one more question bunch ofcards from the top ofthe deck.
We have to assume at this point that you should get it for you. The same applies to In fact, there are eight cards, but they are
are using a ChaSeD sequence for the deck. "High card", and "Low card" and/or "Red not any eight cards; they are eight cards
Ifthe spectator has taken eight cards, card", and "Black card". Because you actu- starting with an eight. If the cards are off
then you know instantly that, ally know all the cards he is holding, just the top of the deck, theywill be,
r. There are four red and four black a little judicious questioning should lead
cards. you to his card. 8C KH 35 roD zC 7H 93 5D
z. There will be at least one picture Ifyou really think you have his card
card, but probably two. from the first question, then tell him the You work on the "two questions
It should take no more than three ques- names of the cards he ISN'T thinking of principle" to get the suit. Now look at the
tions to ascertain the name of the card and have them returned to you one at a cards. There is a high card and a low card
he is thinking of, but ifthey are phrased time until he is left with one card only. of each suit, and only one picture card.
properly, they should sound like state- Ask him to name the card and reveal the A third question/statement will tell you
ments, ifyou are correct, after the event. card he is holding. Naming the cards he which card he is thinking of.
E.g.: 'You have a picture card in mind"? isn't thinking of can be used with any
Ifthe spectator answers "Yes", to this group ofcards from a Stacked Deck pro-

90 THE STACKED DECK

Hanre a qrectaton cut the deck and is in. You now say that the first red card ofhis jacket. From experience, you will
place the top card, without looking at it, (name it again) is in the right pocket, and discover that fifry p". cent of the time, he
in his right jacket pocket. When he has when he removes it you are proved right. will be holding the deck face down in his
done this, ask him to take the next card This is repeated with the two remaining left hand, and remove the top card with
and again without looking at it, place it in cards. his right hand. To enable him to place
his left jacket pocket. Now ask him to re- Ifyou actually use a Stacked Deck for the card into his inside breast pocket, he
peat the procedure with the next card and public performance as opposed to just will often use the left hand, holding the
place it in his inside pocket. Take the deck reading about it, what I am about to tell deck, to pull open the jacket at its lapel to
from him and place it aside, making sure you now is worth gold. The reason for give the right hand holding the card free
you glimpse the bottom card ofthe deck. placing this item at this point is three- access to the pocket. To do this, the left
You now point out that no one, not fold. r. It relates to the effect we have just hand must be raised up to the lapel with
even he, knows the names ofany ofthe described. z. The person who actually the back ofthe left hand towards you.
cards in his pockets, but that you are performs with a Stacked Deck will read While the hand and the deck are in this
going to try to name those three cards. everything in this book and find it.3. The position, you can get a clear glimpse of
You now name the three cards, but don't guywho only reads about such things the bottom card ofthe deck, or at least,
name the cards in their regular sequence. will miss this because he will only skip half of its face.
Explain that he has two red cards and one through the book and absorb enough to There is now no need to retrieve the
black card, and the red cards are the ... enable him to discuss it with the other deck to peek at the bottom card. You can
(name the cards) ... and the black card is nuts who have bought the bookjust to emphasise the fact that you have never
the ... (name the black card). At this point, read it. touched the deck at any time, and at no
most spectators will start to reach for the We can now hark back to the effect in time have you ever even been near the
cards to check your statement, but you hand, where a spectator is asked to re- spectator, etc. When it happens, and it
must stop them before they can do that. move three cards from the top ofthe deck will, make the most of it.
You now tell them that you are going to and place them into different pockets.
try to figure out which pocket which card The last pocket is the inside breast pocket

THE STACXED DECX 91

 o

Thls efieet was shown to me on a visit performer now takes both packets one at In having the cards selected from each
to Argentina. There were eleven magi- a time and removes one card from each bunch, instruct them to remove a card
cians present, all ofus staying as guests packet. Both cards are the selected cards. from the middle of the packet. The reason
of Gustavo, the owner of the Palmero In looking for the selected cards, you for this is that you don't want an end
Ranch, in Mendoza. One guy there, called move the cards around as if undecided as card selected, because ifthat card follows
Julio Fernandez, explained this effect to to which card is the correct one. Actually the sequence from the other packet, you
me. T\aro people select a bunch of cards you rearrange the cards into their stacked could be in trouble, especially ifyou have
each. Both ofthem select a card from deck order. In doing so, you will realise decided to perform the effect with your
those they are holding. The selected cards that one card is out of sequence, and that back to the spectators.
are replaced in the opposite packets and one is the selected card. This applies to
both packets are thoroughly mixed. The both packets.

92 TIIE STACXED DECK

 o

Tltls ls bastcalfy a demonstration of any ofthe Aces. After forty-eight cards, Q 9. It is very easy to make sure they are
memory technique, but it has an impor- announce that there are four cards left, in the correct order as you add them to
tant function. The effect is that a spec- and will the persons holding those cards cards in your hand.
tator shu-ffies the deck thoroughly and please stand up. Ask each ofthem in turn, Ifyou use the Eight Kings stack, call
distributes the whole of the deck out to to call out the name of their card and as out the first thirteen cards in order and
different members of the audience. The they do so, collect the cards one at a time. call out the next thifteen cards in reverse,
performer states that he will call out the The Aces must now be inserted into the and adjust them as they are added to the
names of the cards, at random, and try deck at the correct positions to complete stock in your hand. A simple way to do
not to call out the same card twice. Each the stack. this is to place the first thirteen cards into
time a card is called the person holding One point to note, if you use a math- the left hand face up. The second thirteen
that card is to hand it to the performer. ematically based stacked deck, such as the cards, which are called in reverse order,
The performer proceeds to call out the Si Stebbins. Because the cards are actually are placed on top of them, one at a time,
cards in the stacked deck order until he being called out, some ofthe sequences face down, and then all thirteen cards are
has the complete deck fu1ly stacked from of cards maybe obvious to an astute ob- turned face up.
top to bottom. To dress this up a little and server, e.g. 3 6 9 Q. To avoid this, just alter The same procedure is repeated with
to give it a climax, simply omit calling out the sequence occasionally and call out 3 6 the remaining rwenty-six cards.

THE STACI(ED DECX 93

In per{ormance, a few cards are taken arranged according to the stack used, so forth all the ten cards from behind the
from the top of the deck by the performer that after all ten cards are produced the index. Remember that these cards are
and handed to a spectator. In fact, it is the deck is back in its original order. no longer in sequence. If you nowhave
top ten cards ofthe deck. The spectator is those ten cards shuffied and distributed,
asked to shuffie those ten cards and dis- you can call them in, one at a time in their
tribute them around to different people. Varlation I correct order, bringing the deck back to a
Each spectator is asked to remember the As before, a spectator is handed the top complete stack.
card they are holding. The first specta- ten cards of the deck and is asked to One point to note. As you take the
tor is asked to gather up the cards again, shuffle them. He is now asked to look at cards from the spectator, you may be able
give them a good mixing, and hand them the faces of the cards and remember the to glimpse the bottom card of the packet.
to the performer who places them in his name ofjust one card, and shuffie them If you do, and that is the card he names,
right trouser pocket, behind the index and again. The performer places the cards in there is no need to use the card index.
nearest to the body. his pocket, and asks the spectator to name Just bring forth the bottom card ofthe
Each spectator is now asked in turn to the card he has in mind, and the perform- ten-card packet
name the card theywere holding. As each er produces this card from his pocket.
card is named, the performer produces Again it is produced from the index.
that card from his pocket. The cards thus At the conclusion, the card is not Var.lafion 2
produced, are, of course, from the card returned to the top ofthe deck. The hand We have mentioned this subtlety already,
index. As each card is produced and is holding the card returns to the pocket and but in connection with another effect. In
added to the remainder of the deck, it is places it in front ofthe index and brings this instance, you take the top ten cards

94 THE STACXED DECK

 "Qgt vrooel
'staNoanDo rvPE

ofthe deck and spread them out to have somewhere, who will try to screw up your duction ofjust one card. Just have the ten
one selected. As we have stated already, effect by naming another card. duplicates in your pocket and finger count
it is not too difficult to figure out the Pocket card indexes have been around to any card required. Ifyou require more
name ofhis card, because you already for a long time. They are simply cardhold- than one card, there is a faster way. Turn
know the cards are the first ten cards of ers which enable you to reach into your the bottom five cards face to face with the
rour stacked deck. Just watch which card pocket and produce any card a spectator first five cards. You can now count from
he takes, and count from one end ofthe may name (an example is in Fig. t). We either end of the packet, which will cut
packet along the spread and you should have no intention of describing al1 the down the time required to do it. It will
knowwhich card it is. A.fter he has re- possibilities ofpocket card indexes here, certainly eliminate the need to count to
placed the card and mixed the cards, place but would like to acquaint you with an ef- more than five cards. Bearing in mind that
them in your pocket behind the index. fect in which pocket card indexes are used you are trying to find a card without actu-
You are now in a position to produce in conjunction with a stacked deck. ally seeing it, you can perhaps take a little
the card before the spectator names it. The card index we use here is designed more time than you would imagine. If you
Just bring the card out and hold it back to hold ten cards only. These ten cards are can count your stack backwards as easily
out and have the spectator name his card duplicates ofthe first ten cards in your as you can forwards, you can leave them
before you reveal it. It is important to stacked deck and the index, holding those in their original positions, but there are
have someone else view the card before ten cards, is placed in your right trouser few of us who can do this.
he returns it to the packet. Too often has pocket.
a spectator actually forgotten the name Ifyou really think about it, a card index
of their card, and ruined a great climax. for just ten cards isn't all that necessary
Added to that, there is always one person, especially ifyou are using it for the pro-

THE STACKED DECK 95

There haue been several versions of the Efrect card, with the number position and play-
Danson original effect, some published, some A spectator is asked to select a card and ing card in your stacked deck. E.g., if Jan
marketed. All of themhate good andbad after doing so, he is asked to look up his r3th in your diary has Jack of Clubs writ-
points. The usual bad point is that you need birth date in a diary and there, written on ten on it, then the thirteenth card in your
more than one diary. One of the good points his birth date is the name of the card he stack will also be a Jack of Clubs.
of some versions is that you use some kind of has selected. To present the Danson effect in its
forcing deckwhich means that it is easy to simplest form would be to ask someone
do. For some performers, being easy is a plus Pleparation their birth-date number, not the month.
point, and if an ffict takes lime to learn, it Starting with the first card ofyour stacked Give them the deck and ask them to count
is written off almost immediately. For those deck, write in the names of the cards in down to that number, and remember the
people, this method and routine is a wrtte off, sequence, one on each date in your diary card at that position. Now hand them the
but it is the writer's hope that that there is startingwith January rst. and through to diary and ask them to look up their birth-
someone, somewhere, who will understand January 3rst. Now repeat this with Feb. day, and the same card will be written
its value. Mar, Apr. etc. right through to December. thereon. The deck should be given a false
Some months will differ in number from shuf,fle first, to make it effective.
rwenty-eight to thirty-one, and a leap year There are several advantages to this
will have twenty-nine days in February. method. Only one diary and one deck of
After you have done this, you should cards are used. There is no need for the
realise that every month in your diary spectator to tell you his birth date. The
will coincide, in date number and playing card forces itself while the deck is in the

g6 THE srAcKED DEcK

 The method preferred by the writer
isto start offwith six extra cards on top
of the stack to begin with. Hold the deck
Variation I face up in the left hand. Ifthe spectator
This is for the guywho hates what he says July, August, or September, it is a
calls counting tricks. Have the specta- simple matter to thumb lift one, two, or
tor tell you his birth date, and force that three cards, in readiness to do a double
card on him. The problem is that when he undercut to transfer them to the top of
tells you his birth date, you have to know the deck. Now turn the deck face down
instantlywhich card is written in on that andyou are readyto go. Iftheyname
date in the diary. You now have to locate October, November, or December, spread
it in the deck and Classic Force it. None the deck face up and get a break under
of these things are impossible, it's just a the fourth, fifth, or sixth card. Square the
little more work. deck up and double undercut as before.
The reason for spreading the deck to get
Variation 2 the break is ostensibly to show that the
I mentioned this idea to a few friends cards are all mixed.
while on a visit to the USA a few years If the number is less than six, turn the
ago and Ronald Wohl from New Jersey deck face down and proceed exactly as al-
suggested that it would be possible to ready described. There is a subtle reason
have the spectator count down the month for having the deck face up at the start.
ofhis birthday also, after he counts down In this position it is reasonably natural
to his birth date number. If the month is to both cut the cards as they are, or turn
June, he counts down six, seven for July, them face down to cut them. If the deck
etc. To do this you have to add that num- starts off in the face down position, it
ber of cards to the top ofthe deck. There would be unnatural to turn them face up
spectator's hands. It is only afterwards are several ways to do this, and after a to cut them.
that you ask him his birth date provided little thought the writer came up with the To get back to the effect. Once you
vou are confident that he will followyour following. have the required cards on top of the
instructions; you could do it with your The deck is stacked as before. In this stack, give the deck a false shuffie, hand
back to him. If he is instructed to deal the instance you ask the spectator the month it to the spectator and ask him to deal the
cards face up one at a time and stop when he was born in. If they say June, what you cards face up on the table, one at a time,
he comes to his number, remember the must do is transfer six cards from the bot- and calling them January February etc.,
card at that number and replace the cards tom ofthe deck to the top. Ifthey sayAu- and to stop at the month he was born in.
on the deck, he will actually reset the deck gust, eight cards are transferred. Howyou Now ask him to count down to the date
for you. transfer the cards is a matter of choice. in that month he was born on, pointing
Ifyou already do a Stacked Deck rou- If they say November, you could hold out that you have no idea ofhis birth
tine, there is no reason why you can't pop the cards face out in the right hand ready date. When he does so, proceed as already
this effect in the middle somewhere. for an overhand shuffie, and run eleven described.
cards off the face of the deck dropping the
remainder of the deck on top. This would
place the bottom eleven cards of the deck
on top ofyour stack, which is the object
ofthe exercise - to place the number of
cards related to the month on top ofyour
stack.

THE STACKED DECX 97

 o

I strongly suspect that the following idea first of May is 7H, so the second of May this effect. In our earlier versions, only
camefrom a sugestionby the aforemen- will be 95, third wili be 5D, and so on. thirty-one cards were used. In this one,
fioned RonaldWohl. I can't remembt what we will use forry-three cards of the stack.
it was, and neither can he, But I know he said January r KH The situation now is that you can deal
something to me once, which headed me in Februaryr 3S cards to the value of the month, e.g. if it's
thb direction. March r roD August, you deal down eight cards, Sep-
April r zC tember nine and so on. After the month
May r 7H the cards are dealt down to the birth date,
TIre deck ls stacked normal. In this
as June r 9S and it doesn't matter which way round
instance, any stack will do. In the example July :. 5D you deal them. You can deal the birth date
given below, we are using the Eight Kings August r QC first then the month, or vice versa.
Stack. The main difference in this version September r 4H It's possible that we have added a new
to the others is in the diary itself. Look at October r AS dimension to this effect, in that you need
the column below. First, you ignore the November r 6D never know the date or the month, and
veryfirst card of your stack, which in this December r JC no questions are ever asked at any time.
instance would be the 8C. You must now It would be possible to perform the effect
write in the diary on the first of every With the deck stacked in the Eight without you ever knowing the birth-date,
month, the next twelve cards of the stack Kings order, may we remind you that month, or the selected card. The deck,
you use. Now fill in the rest of the month, there are a number ofcards at the bottom stacked in this order, will force the card
following on from those cards. E.g. The of the deck which will never be used in in the spectator's hands with your back

THE STACKED DECK 99

 Pdt mdrketed fhrs as old Moore's Diary

turned. All you have to be sure of is that in the Easter zooo issue of Repro Magic's date, simplyby asking. Explain that as
the spectator will followyour instructions Club 7t magazine. He also refers to an there isn't a February twenty-nine in your
exactly. Just tell him to deal down to the earlier version published in 1995. Unfor- diary you can't use that person. Now do
month and then the date, and he will fin- tunately, and that is exactly the word to it with another spectator. Secondly, it is
ish up with the same card that is written use, he screws up the effect by incorporat- possible to get diaries without the name
in the diary on that date. ing an Ed Marlo prepared deck(s). The ofthe day printed on each date. Those
Ideally, you should false shuffle the final effect is that the selected card has a diaries usually have February rwenty-nine
deck before commencing the effect. If you different coloured back to the rest ofthe included. The advantage ofthose diaries
have a good deck switch, you are getting deck. He also uses a mathematical system is that you don't have to write a new one
close to a genuine miracle, because you to discover which card is at a particular out everyyear. The same diarywill do for
can let the spectator shuffie the cards number or date, which is perhaps a little anyyear. One more point. It is possible to
himself. For advanced card buffs, reaching time consuming. He is to be admired for take a deck ofcards and give them a thor-
for the diary can help with a deck switch. the amount of work he has put into it but ough shuffle and use the order the cards
One other slight bonus you gain from seems to have lost the simple plot of the are now in for the diary effect. You simply
this method is that the cards are not re- original Danson Diary effect. Having said write the order ofthe cards into the diary
peated on the same date in every month, that, I must say that ifyou are interested as required. The advantage is that the
as in the first version. The writer once had in the diary effect you should check it out. cards really are in a random order. The
a girl look at the wrong month acciden- Ifyou use a diary of a leap year things disadvantage is that to perform the effect
tally, and then correct herself, but she will happen as they should. But there you would have to have the cards in that
did point out that both cards she looked is a one in a million chance of some- same order, every time, which means, in
at were the same. It only ever happened one having a birthday on February the effect, that you have a Stacked Deck. This
once, but ...? twenty-ninth and the diaryyou are using writer's thinking is that if you have to
I know that other people have worked isn't a Ieap year one. This means that the have a Stacked Deck, use one you either
on similar ideas to this and as I write, I spectator cannot look up their birthday in already know, or is useable for other ef-
have an article byArun Bonerjee in front the diary. There are two v/ays round this fects.
of me detailing a version of the Danson problem. First, make sure that the person Atailablefrom:
Diary almost exactly as above published you are dealing with wasn't born on that www.PatrickPagemagic.co.uk
 This is an effect that Maurice Fogel and I dis- card in the deck. He is now instructed to cut both packets again. Just make a
cassed several times oter the years. The effect cut the deck into four face-down packets. mental note of the original positions of
is ttery simple for a spectdtor or spectators to We will assume that the deck is cut from the four packets from the top ofthe deck
follow and the method is simplicity itself. I left to right into four, more or Iess equal down and follow that sequence.
have performed the effect many times over the packets. The performer now names the The problem is to get the name of that
years,but I doubt if Maurtce didit more than four cards at the bottom ofthe packets. first card without a marked deck. The
a few times. He did perform it, but he rarely method I used was to explain to the spec-
performed close up and didn't euerfind away Method tators that, "If I were to tell you that this
to do this on stdge. You already know that it is a Stacked card here was (you turn the card face up
Deck. It is the Si Stebbins or Eight Kings- and name it) the Seven of Spades, you'd
type stack. All you need to know is the top say I was using marked cards. But I'm not
One other reason for him not using this card ofthe last packet to be cut, which goingto do that. (Replace the card face
type of effect is that it uses a Stacked would be the top section ofthe deck. down.) I'm going to tell you the names
Deck, and, although he had used Stacked With a marked deck there would be no of the cards on the bottoms of those pack-
Decks many times over the years, it was problem, but we didn't have a marked ets, and I can't see them, can I?"
not one ofhis favourite tools, a fact that deck. In turning that first card face up you
always surprised me as we all know how Once you know that top card you have all the information you need to com-
many mental-type acts have been success- simply think of the next card in your stack plete the effect.
ful with this kind of material. and that card will be at the bottom of the The Fogel answer to the problem was
We both came up with different meth- first packet. You name it, and as you turn more direct. He said,'Tust guess the
ods of presentation which will point up that packet face up, you glimpse the top name ofthe card at the bottom ofthe first
the differences in howwe approached this card of that packet. That card will furnish packet. When you tum that packet face up
type ofeffect. I am going to leave out any you with the name of the card at the bot- you will probably be wrong, but you will
false shuffies or cuts which the average tom of the next packet, which you name, now have the information you need to get
cardician would probably include in his and in the action ofturning that packet the next three cards right, and three out
Presentation face up, you again glimpse the top card of four ain't bad."
of that packet. This is repeated with the
Efiect remaining two packets.
A spectator is invited to cut a deck of Occasionally, you may flnd that a spec-
cards several times until he is satisfied tator will cut the deck out of sequence,
that no one can know the position ofany e.g. he will cut the deck in two and then

THE STACXED DECK 1O1

ln the previous version we were basically ing against his chest. He shows the card the face ofthe next packet in line.
talking about a close-up effect which I played to the audience, confirming that you are This is repeated with the remaining
around with many yedrs ago. This version correct. This is repeated with the three two cards. As each packet is retrieved it
is for plalform or cabaret presentation, and remaining packets, as you walk across in is placed on top ofthe cards in your hand
was dwised quite recently. front of each spectator, retrieving each which retains your stack. At this point do
packet as the face card is named. This a we need to tell you that you have to view
very strong effect. the top card secretly? Well you do. There
You need three or four assistants, who How is it done? Well, you knowby now are many versions published which will
are asked to stand in a row facing the that you are using a stacked deck. After tell you how to do this, but for the record,
audience. You are standing on their left. the packets have been cut, all you need do what follows is what this writer uses, but
Hold the deck in your right hand and offer is to look at the top card of the remain- to explain it needs the details ofhow it
it to the person nearest you and ask him der ofthe deck which you are holding. came about.
to cut offa small packet of cards and, This will, by counting backwards in your This is something I have been doing for
without looking at them, to hold them stack by just one card, tell you name of many, manyyears.
with the face card against his chest. This the card at the face ofthe packet held by On one of myvisits to the United
repeated with the remaining three help- the last person to cut the cards. After he States, I was staying with old friends
ers as you walk across in front of them, has shown the card to the audience, you Charles and Regina Reynolds, as I always
finishing up on their right. retrieve the cards from him and as you do did when in NewYork, and I mentioned
Starting with the last person to take so, you look at the top card ofthis packet, something I had been doing for many
a packet, you name the card he is hold- which will tell you the name of the card at years. Charles was impressed. So im-
pressed in fact, he later asked permission
to use it in a book he and Regina were
writing on Harry Blackstone Jnr. calied
The Harry Blackstone Book of Magic and
Illusion. We negotiated a very large fee; I
think it was a cup oftea and a cream bun.
Basically it was a method of appar-
ently showing both hands empty when, in
fact, you have a card palmed in the right
hand. You don't actually show both hands
empty, it just infers it without saying so,
and is very easy to do.
Hold the deck in the left hand, with the hands together and palm the top card,
the right fingers at the outer end ofthe revolve the deck just once, which is long
deck and thumb at the near end. Palm the enough to see the face of the card, and
card in the right hand Gig. D. The left as the hands come together replace the
hand releases its grip on the deck, and palmed card. Remember this - there is no
the right hand turns so the thumb comes heat on you at that moment. As soon as
uppermost and you are holding the deck the last packet is cut from the deck, bring
almost perpendicular, with a short end of the hands together and just do it.
the deck on top (Fig. z). At that point, the TWo more points to make.
spectators can see an open space between My friend Max Blake thinks that the
the deck and the palm ofyour right hand effect would be enhanced by a short
(Fig. 3, spectator's view), but they can't placed atop the left hand packet (Fig. Z). introduction along the lines of, "Probably
see the card in your palm. You, of course, The actions can now be repeated, creating the most difficult card tricks to do are
can see the palmed card's value (Fig.+, the action of revolving the deck between when the cards are completely out of your
performer's view). your hands, and continuously showing control and in the hands ofthe specta-
The left hand now takes hold ofthe that empty space between the deck and tors. Let me showyou".
deck, thumb at the near long edge ofthe the palm, which creates the impression of I think he's right.
deck, fingers at the far edge (Fig.5) and both hands being empty (except for the The second point is also from the Blake
turns the deck so that the thumb is on top deck). It is not one-hundred percent angle man. He wasn't too happy about having
of the long edge, with the fingers at the proof, so be aware ofthat fact. to think backwards in the stack to name
bottom, and the right hand is replaced, Well, that's it, and I hope you have the card, so what he did was reverse the
thumb at the near end, fingers at the far understood the point I am trying to make. whole stack, so that it starts from the
end (Fig. 6). We are now, more or less, Ifwe now go back to our four packet bottom ofthe deck. He finds it easier to
back where we started, holding the deck effect, the foregoing is the method I use name the next card in sequence rather
in the left hand with the card palmed in to glimpse the card. As soon as the last than go backwards.
the right hand, and the palmed card is re- packet has been cut from the deck, bring I think he's just lazy.

THE STACKED DECX 1O3

Tnro spectatons a^ne involved in this into play. From this deck you force the are stacked identically. Having done this,
effect, and two decks ofcards, both of duplicate of the first card. The best way to cut one of the decks at the middle and
which are stacked. Both spectators are do this is by means of the Classic Force, complete the cut.
invited to select a card from different because then it will duplicate the actions When the first card is selected, the first
decks and place the cards in their pockets ofhaving the first card selected. Ifthe regular stacked deck is used, and you have
without looking at them. The performer reader isn't too happy about his ability to to make sure it is taken from near the
e>rplains that on the count ofthree, they do this, any other force of a card will do. centre of the deck. When you get to the
are both to reach into their pockets and Before you force the card, you have to second deck, you already know that the
bring forth the cards. On the count of find it, and the easiest way is to spread the card you are looking for is near the top or
three both cards are revealed and they cards face up to allow the spectator to see bottom ofthe deck, so you don't have so
have both selected the same card. that the cards really are all mixed up. Get far to look. In fact, ifyou just look at the
The first selection is a free choice, but, a break above the desired card, turn the bottom card ofthis deck as you remove
because the deck is stacked, you instantly deck face down and force the card. it from its case, you should be able to tell
know the name of the card. This deck is There are a couple ofpoints worth exactly where the card is.
placed aside and the other deck is brought mentioning. First of all, the two decks

ro4 THE STACKED DECX

Scattered throughout magic literature there Assumingthat you knowyour stacked many cards away from the force card the
are a number of effects which require the deck, spread the deck face up to show the selected card is. Ifit is, say, four cards
performer to have a selected card returned cards are all mixed, and in doing so get a away from the force card simply have it
at a specific point in the deck, say, sixteenth break above the fifteenth card from the returned to the same position from which
cardfrom the top. There are seueral different top ofthe deck. it was taken, and square the deck. The
methods by which this can be accomplkhed, Using the PaPa System, this isn't selected card will now be twentieth card
but using a Stacked Deck makes it easy. too diffrcult, as you know that the JC is from the top ofthe deck instead of six-
thirteenth from the top. Simply look for teenth, but at least you know that, and it
the JC and get a break two cards above shouldn't be too difficult to transfer four
it. Turn the deck face down retaining the cards from the top ofthe deck to the bot-
break and spread the cards to have one tom, thus placing the card at the desired
selected, from below the break. Once this number.
has been done simply separate the deck An example of how the placement of a
at the break and have the card returned card in a particular position can be used is
to that position. The advantage here is as follows. Get the selected card sixteenth
the speed with which you can locate a from the top ofthe deck. Now deal the
number. A slight disadvantage is that you cards from the top ofthe deck face up,
now have one card out ofsequence in the one at a time, on to the table, and as you
deck which you will have to colrect at a do so, recite the following rhyme:
later point.
A slight variation to the above is to Yqnkee Doodle came to London
try to force the card below the break by Riding on a pony
means ofthe classic force. Ifyou succeed, He stuck afeather inhis cap
then have the card returned to the same And called it macaroni.
spot, by splitting the deck at the break.
What happens if you cannot force a card If you deal one card for everybeat of
in this manner? Well, we only asked you the rhyme, it will take sixteen cards to
to try to force the card. Ifyou miss the complete the rh)rme and the last card will
force there are two things you can do. Just be the selected card. I first saw this effect
have the card returned at the break as be- in one of the Tarbell volumes, and having
fore, which will, as already mentioned put used it ever since, hope that the publish-
one card out of sync, or, with any luck, ers will forgive this little bit of plagiarism,
you shouldn't miss the force by more than as it is intended as a compliment to the
a few cards. Ifthat happens, note how originator.

THE STACXED DECK 1O5

 uns
What you are about to read is something that Thene ane ssveral different methods AC AH AS AD
the writer has made alivingwithfor most of for memorising the Si Stebbins Stack.
his adult life. lfyou are really serious about This is one more to add to your col- +H +S 4D 4C
mastering a stacked deck most of the an*ters lection. The PaPa system doesn't use
are probably in this nert section which was mnemonics, arithmetic, or the association 7S 7D zC ZH
originally publishedin Geniimagazine in the of ideas, and yet you know instantly, the
United States. Afew minor alterations have position of any named card in the deck. roD roC roH roS
been made to the text where it was considered Before we get down to the actual de-
not relevant to this book. tails, I must point out that the system was KC KH KS KD
devised to enable the writer to cut to any
card in the deck without actually know- 3H 3S 3D 3C
ing it's numerical position. The fact that
you can tell its numerical position was an 6S 6D 6C 6H
accidental bonus. The writer is assuming
that you are already familiar with the Si 9D 9C 9H gS
Stebbins stack, as it is generally accepted,
with the addition of three to the previous QC QH QS QD
number, and for the sake of simplicity, we
are going to use the CHaSeD sequence of zH zS zD zC
Clubs Hearts Spades and Diamonds. The
first card, which is the top card of a face SS 5D 5C 5H
down deck, is the AC. Now look at the
chart. 8D 8C 8H 8S

JC JH JS JD

to6 THE srAcKED DEcK

 The left-hand column is the first thir- In shoft, with a little practice you will Now let's get back to why the PaPa
teen cards ofthe deck, the second column know the positions of all the Aces, Kings, System was of use to this writer.
is the nex thirteen and the third and Queens, and Jacks, and that's all you re- Because you actually visualise where
fourth columns continue the sequence. ally need to know, because those sixeen the key cards are in the deck, you can cut
When the whole deck is assembled it will cards have become your KEY CARDS. the deck at that point, and although you
consist offour sets ofthirteen cards, and Don't try and learn the positions of those are unlikely to hit the card every time, it is
this is one of the keys to the PaPa System. cards - let it happen from practice, and it unusual to be more than one or two cards
Look at the first column and you will WILL happen. If someone names the KD, away from it.
seethat it consists ofthree Hearts, three it isn't too difficult to add five to thirty- Now here is an odd situation.If a
Spades and three Diamonds, but FOUR nine. Just visualise which section the card person names a card, such as the 25, the
Clubs. These club cards are printed bolder is in. nearest key card is the QH. You must
and are the Ace, King, Queen, and Jack. What has happened so far is that we now attempt to cut to the QH card, but if,
The second column also has an Ace King, know the positions of sixteen cards in the most of the time, you are one or two cards
Queen, and Jack, but they are Hearts. deck and those cards are our key cards. out, the chances are that you will cut the
This is repeated in the third and fourth If someone names a card which is not a zS to either the top or bottom ofthe deck.
columns with Spades and Diamonds key card all you have to do is go to the It seems that the odds in favour of you
respectively. nearest key card. Example. If the 3D is cutting to the named cards are increased
The position ofeach ofthose cards in named you think of the nearest key card if they don't name a key card. This writer
each column is exactly the same. From which is the KS, and you know that the left school at fourteen and the thought of
Ace down to Jack, they are at positions, r, KS is fifth card in the third section, and trying to work out the odds on this makes
5, 9, and r3. Now assemble the whole deck the 3D is right next to it. Sounds compli- his head hurt.
with the AC at the top of the deck and cated doesn't it? But not if you PICTURE Let's take one more tiny step. We have
the JD at the bottom and we are ready to its position in your mind. I have delayed been discussingthe Si Stebbins Stack,
explain the system. Place the deck on the until this moment emphasising the fact with the AC at the top of the deck and
table in front ofyou and look at one of that you must get it into your head that the JD at the bottom. It requires no great
the long sides ofthe deck. Now close your the A, K, Q, J's are in positions t, 5, 9 and leap of the imagination to realise that
eyes, and picture the A K Q J of Clubs in r3 in each section. I have mentioned this that with the PaPa System, you can do
that top quarter of the deck. Remember before, but now you know why. Ifyou everything we have discussed with any
they are in positions t,5, 9, and r3. What know INSTANTLY where the key cards Jack on the bottom ofthe deck. Ifthere
you have to get into your mind is that are, finding the other cards comes easy. If is a JS on the bottom ofthe deck, it fol-
the top quarter ofthe deck becomes the the zH is named you look for the QC. lows that the Spade section is the bottom
CLUB SECTION. Just think of that top That is al1 you really need to know quarter of the deck, which in turn means
quarter as CLUBS. It follows that you to enable you to find any named card that the Diamond section will be the first
will call the three remaining sections of in the deck. If you are already familiar quarter of the deck. In the same way that
the deck, HEARTS, SPADES, and DIA- with the Si Stebbins Stack in the ChaSeD a Stacked Deck will never be disturbed
MONDS. sequence, it should come easy. Ifyou by a complete cut, neither will the four
use a different suit sequence, you simply sections. In the foregoing example the
To recap: You must think of the four visualise the four sections ofthe deck in sections will now be in order from the
sections as being Clubs Hearts Spades that order. top down: Diamonds, Clubs, Hearts, and
and Diamonds, and in each section you Spades. The deck has simply been rotated
have the A K Q J, at positions r,5,9, and t3. Now here are a few aids which maybe one section.
Now ask anyone to name anyA K QJ of use to you, but again we must point out Although it may appear to be a little
and you will be amazed to discover that that you don't need to commit them to more complex, the same rule holds good
in your mind you can figure out where it memory just let it happen. for any key card on the bottom ofthe
is. If they name the QH you know it is the deck.
ninth card in the second section although, r. Any z, 3, or 4 will always be one Because the PaPa System makes you
from experience, this writer would advise card after a key card. think ofthe deck in four quarters, the fact
that you don't think of its numerical posi- that one of the quarters may be split in
tion, just think of its physical position in or 10 will always be one
z. Any 8, 9, rwo by having some cards at both the top
the deck. If someone names the AD you card before a key card. and bottom ofthe deck doesn't alter your
can actually see in your mind that it is the abiliry to SEE in your mind where the
first card in the last section. 3. If someone names a S, 6, or 7 of four quarters are. There are other stacked
With just a little thought, you will Spades, theywill always be in the decks to which the PaPa System can be
realise that if someone names any A, K, Q, CIub section. The 5, 6, 7 of Clubs applied. The writer developed the system
or J it is not too difflcult to work out the will always be in the Spade section. for use with the Eight Kings Stack. For the
actual numerical position in the deck, be- Similarly, Diamonds and Hearts record, the key cards in that stack are the
cause you are thinking ofthe deck in four will be in the opposite section of 8, 2, Q, and J, and they are in exactly the
sections of thirreen. As soon as they name the same colour. same positions as the A, K, Q, J in the Si
the card, your mind instantly homes in Stebbins Stack.
on that section. With just a little practice 4.If a non-key card is named, think If you're wondering where the PaPa
and experience, you will begin to realise ofthe suit ofthe nearest key card System got its name, it is short for Patrick
that the JH is twenty-six from the top of first, before its value. It's probably Page, and besides, my grandson, Robert
the deck, the QS is thirty-five, and so on. faster. calls me PaPa.

THE STACXED DECK 7O7

It has alrcady been mentioned that named, and that's where the PaPa System performer looks at an audience, theywill
the writer developed the PaPa system scores over others. The cards have no generally look at him, and if he is talking,
to enable him to cut to any named card numbers related to them. even more so - andwe're talking about
in the deck. There have been systems You just have to visualise wnrne in the the face. Ifhe looks down at his hands,
devised, like the Nikola System, in which deck the card is, and cut at that point. they will also look at his hands, especially
every card has a number. Ifyou want to Now let us rephrase that. Youjust have to if he is doing something with his hands. It
find a named card, which you know (say) visualise wnsnu in the deck the KEy cARD follows that a small action with the hands
is t'wenty-fourth from the top of the deck, is because, remember, we are looking for will probably be less noticeable if the
you have to estimate twenty-four cards the nearest key card. Don't ever try to performer is looking at and talking to the
and cut that many cards offthe top of the work out where the named card is. Go spectators as he does it. Most people will
deck to find the card. straight for the nearest key card. never realise that you have cut the deck,
Cutting an exact amount of cards from Would you believe that you can actually most of the time, if you do it while you
the top ofthe deck is not too easy, and do that without looking at the deck? Be- are talking to them.
to guarantee it every time, without some cause that's what you have to do. You do
other aid, is probably impossible. But it is it by feel. You will only believe that when
not too diffrcult to get close to it, and the you try it. Go on. Try it. Once the cut is
advantage ofa Stacked Deck is that you made, you can now look at the deck, to
know, instantly, just how close you are. veriffyour position, by peeking the bot-
The biggest obstacle is always knowing tom card ofthe deck. There is a reason for
where the card is, at the moment it is this. It is an established fact that when a

ro8 THE srAcKED DECK

 o

One of the writer's favourite wrinkles is at the bottom ofthe deck, you can show We have used the opportunism, be-
is to repeat what the spectator has said, it to be either on the bottom, or in the cause that is exactly what it is. Sometimes
twice. Here's how: middle by means of an Undercut. This you will ask a spectator to name a card
means that if you have a named card on and you have a particular effect in mind.
Spec.: "The Seven of Diamonds". the bottom ofthe deck you have a two- Occasionally the card named will be in a
Me: "The Seven of Diamonds?" to-one chance ofhaving it in the position position where it can be spelled out with-
named by the spectator. One more option out too much trouble. A knowledge of
As this is said I am actually cutting the for a card which is on the bottom of the those cards that can be spelled out fairly
deck, and by the time he acknowledges deck being requested to be on top ofthe easily supplies you with one more arrow
me, I knowwhere the Seven of Diamonds deck, is to say, "If I turn the deck over, it to your bow. With the 8C at the top of the
is, because I hold the deck up in the left will be on top", and as the line is delivered deck, if someone names:
hand, back out, with the bottom card you turn the deck face up.
staring me in the face, and ask,'lflhere Ifthe card is second from either top or Spell Q.U.E.E.N. ... then
would you like the Seven of Diamonds? bottom, a Double Undercut from the top
ec C.L.U.B
On top, bottom, or in the middle of the ofthe deck or the bottom ofthe deck will Spell
4H F.O.U.R. ... then HEARTS
deck?" By now I have decided how I am in most instances place the card where
going to reveal the named card, depend- you want lt. AS Spell A.C.E.O.F.S.P.A.D.E.S
ing on where the card is. At that moment One point: The flrst time you ask where Spell S.I.X. then
the card could be on the top ofthe deck, theywould like the card placed, "Top, 6n D.I.A.M.O.N.D.S. and turn over
the bottom ofthe deck, or be second card bottom or middle", make sure you have the next card
from either the top or the bottom. It is the card on the bottom ofthe deck, and
Spell J.A.C.K.O.F.C.L.U.B.S.
rare for it to be any'rvhere else, and if it is, ask a female. She will invariably answer,
Double undercut two cards
it is never more than one more card away "The middle". This makes your first rev- JC
from the top ofthe deck to the
from top or bottom. elation ofthis nature spot on.
bottom
Ifit is on the bottom and they ask for Occasionally someone will call out the
the bottom, you just turn the deck over. If card that is sitting on top ofthe deck, or Spell E.I.G.H.T.O.F.H.E.A.R.T.S.
8H
they say the middle, hold the deck in the the bottom; at that moment make the T\rrn over next card
left hand and Undercut the bottom half most of it. Sometimes I will palm it off Spell K.LN.G.O.FS.P.A.D.E.S.
of the deck with the right hand and bring and reproduce it from inside my jacket. If KS
Double lift next two cards.
the right hand up as ifthe deck had been it's second from the top, I will show the
cut at the middle. If they say the top, hold top card and do a Top Change to correct There is more than enough there to
the deck in the left hand and lift offthe my'mistake'. Sometimes, if the named satisqr most conditions. In secretly trans-
top card with the right hand, and show card is on top of the deck, I will do a Co- ferring cards from one end of the deck to
its face, asking, "Is it there at the mo- lour Change ofthe bottom card. the other the writer prefers to use, almost
ment"? and when they answer "No", tell Below, you will see that some cards will exclusively, the Arthur Buckley Double
them, "I'11 do it behind myback". Place spell from the top of the deck automati- Undercut [Buckley: Card Control, pg. Z8),
the cards behind your back and transfer cally. If one of them is named go straight even to the extent ofturning the deck face
the bottom card to the top ofthe deck, into a spell. What happens is that a spec- up and spreading the cards to say, "Your
bring the deck forward and show that the tator names a card, and the performer card could be anywhere in the deck", and
named card is on top of the deck. spells the name of the card, by counting getting a little finger break at the neces-
If the card is on top of the deck and one card at a time offthe top of the deck, sary position. The one exception is an old
they ask for the top, you just turn the onto the table. The last card dealt is the move credited to both Max Malini and
card over. Ifthey ask for the bottom, you named card. The cards should be turned Horace Goldin, where a card is slipped
do it behind your back. Ifthey ask for face up on to the table, one at a time, on from the bottom ofthe deck to the top.
the middle, Double Undercut the card to top of each other. In this position they With a face-up deck it was intended as a
the bottom ofthe deck and Undercut as can be picked up and replaced on top of colour change. With a face-down deck, it
already described. the deck, face down, which will retain the transfers the card from bottom to top of
I hope you have noted that ifthe card stacked deck sequence. the deck.

THE STACKED DECK 7O9

This is an effect that has been around a time. Sometimes it will take longer than cards on top ofthe deck. This gives you
long time. others, but you will get it. six cards to playwith. Work on the top
A deck ofcards is spread from hand to Do a pressure fan in the left hand with and bottom pairs, which will give you one
hand with the faces towards a spectator the cards face up, parallel to the floor. card of each suit.
and he is instructed to just think of one Hold them waist high and tell the specta- Now proceed exactly as in the effect
of them. The performer now finds that tor that you are going to hold them up entitled The Probe (above). Once you
card. The problem with this effect is that "1ike this", and as you say so, hold the know the suit, don't name the card yet.
it is chancy. You are never certain that cards up so that he is looking at the backs You could be wrong. Let's explain how to
you know the card that has been seen. ofthe cards, "But I'm going to hold them proceed. Assume that the bottom card is
In most instances the performer finishes so you can see the faces", you continue, the Seven of Spades, and the card above
up with two cards on top of the deck and as you lower the deck and close the fan. "I it is the Two of Hearts. The top two cards
two cards on the bottom. He then asks want you to look at one card and remem- ofthe deck are the 9D and the SC. If,
the spectator to name the card and when ber it". after two questions, you know the suit is
he does so, the performer does one of You now pressure fan the deck again, Clubs, don't name the 5C instantly. Go to
four things according to which of the four but this time face down. Hold the cards the next nearest Club card, which is the
cards has been named. He either shows up to his face, untilyou are sure he has roC, the card before the zH. Now ask the
the top card, the bottom card, does a got one in mind. So, having done that, question, "Is it a high card?", and depend-
Glide at the bottom ofthe deck or Double how do you figure out which card he has ing on the answer you will know whether
Lifts the top two cards. I know I could in mind? You don't. it is the 5C or the roC. Note, when we say
have said a Second Deal, but the guys who When he looks at the cards, just note the next nearest card of the same suit, it
do Second Deals don't usually do Think- where he looks in the spread, and don't is the card of the same suit, nearest either
A-Card effects. give him long enough to look back and the top or bottom ofthe deck.
Sometimes the effect depends on the forth along the deck. As you lower the The same effect can be achieved with
spectator viewing a limited number of cards, split the deck at where you think a deck ribbon spread face up across a
cards only, although he will not be aware he looked, giving it a cut and completing tabletop. Only practice will teach you
of that fact. The only performer the writer the cut. The chances are that the card he the correct amount of time to allow the
ever saw do it successfully, every time, is thinking of is somewhere near the top spectator to look at the cards.
was Al Flosso, from New York. The effect or bottom ofthe deck. Take a peek at the Ifyou decide to try this, don't gather
about to be described follows the same bottom card ofthe deck. Once you know the cards up. Flip the cards over from one
pattern but because a Stacked Deck is this card, you will also know the two or end. This gives the spectator even less
used, it is possible to get the card every three cards above it, plus the two or three time to look at the deck.

THE STACXED DECX 11]

 mation

Tlrls is anothen version of having a There are a number of other ways to the card he looked at, and your card is the
spectator look at a card and the performer present the same idea. one.
dMning which card has been selected. Ifthe deck is ribbon spread face down You will find, on trial, that most
One ofthe advantages ofthis presen- on a table, you can ask a spectator to people do not replace the cards exactly
tation is that, although the spectator place their forefinger on one card. You as they were when they hand the cards
handles the deck and looks at a card, immediately estimate, from the "top back to you. Quite often, there is a small,
it can be presented as ifthe spectator end" ofthe spread, the nearest key card. almost imperceptible, step in the deck.
merely thought of a card. He is the only You now turn your back and instruct the Don't split the deck. Just note where it
person who knows the card he is thinking spectator to look at the card, replace it in is, spread the cards out faces towards
of, and you never touch the cards. the same position and gather the cards you, and pull up the card that has been
To perform this, you ask the specta- up into a packet. You can now finish the "stepped".
tor to hold the deck face down in his left presentation with your back to the specta- But what happens if there isn't a step?
hand, cut offa packet of cards with his tor, leading them to think, maybe, that the You estimate as before. You will find it
right hand, look at the face card of this whole presentation was done with your will become a habit, that when anyone
packet, and replace the packet on top of back to them. cuts the deck, you will automatically esti-
the deck. You can also have a spectator place the mate where they have cut. Sometimes the
The best way to make this perfectly deck behind his back, cut offa packet, step will be quite pronounced - to you,
clear to the spectator is to demonstrate look at the face card, and then replace it but not to anyone else. Ifthis happens,
what you want him to do. on top of the deck. To see the card, he has you can do one ofrwo things. You can
When this has been done, you ask him to bring the packet round to the front, at immediately place the deck behind your
to place the deck aside. To discover which which point you estimate the number of back, pointing out that you are not even
card he has looked at is not too difficult. cards he is holding, to give you the near- going to look at the cards, and bring forth
Because you knowwhere all the key cards est key card. the "thought of" card. Or, you can im-
are, you simply estimate the nearest key One more, and this one you will not mediately place the deck on the table and
card, and work on The Probe principle. believe until you have tried it. Have a create a time delay, during which you give
Ifhe cuts around a quarter ofthe deck, spectator cut off a packet of cards, look at what you are about to do an incredible
you have both the JC and the 8H to work the face card ofthat packet, replace the build up, after which you place the deck
from. You will be amazed just how easy cards on the deck and hand the deck to behind your back and produce the card.
this is and how often you hit the correct you. You now look through the deck, pull I am sure that you will realise that we
card first time. out a card, and have the spectator name are back to opportunism.
A spectator is invited to ndme d number To begtn wlth, the cards are on the different, and get a break under or over
from one to fifiy-two. He now selects a card table, face down. the 3D. T\rrn the deck face down and cut
and returns it to the decl<, which is cut and Once the number is named, you have the 3D to either the top or bottom. You
shufied. The spectator counts down to the to know the card at that number. As you are now going to force the 3D on the
number he named andfinds the selected card know the position of all the key cards in spectator, so you have to make the choice
at that number the deck, this is not too difficult. of where to place the 3D.
We will assume that the 3D is named. Once you have forced the card, have it
The nearest key card is the 8H, and you returned to the same position. Now give
know that the 8H is the fourteenth card the deck a false shuffie and cut. However
from the top ofthe deck. You now esti- you do it, you must bring the deck back to
mate fourteen cards, which means that its original position with the first card of
you estimate in the deck where the 8H the stack on top ofthe deck. Ifthe specta-
is, and cut the deck at that point, placing tor now counts down to the number, he
the cut cards in the left hand. The really will find his card at that position.
important point here is that you are ap-
parently picking up the deck and 'acciden-
tally' leaving some on the table, which you
immediately pick up and add to the top of
the cards in your left hand.
What you have done is cut the deck and
completed the cut in the action of appar-
entlyjust picking the deck up from the
table. Don't worry about the estimated
cut being accurate. It doesn't matter at
this moment. What you have done is
bring the card you want, which is the 3D,
near the top or bottom ofthe deck, which
makes it easier to locate than if were left
in its original position. Turn the deck face
up spread the cards to show they are all

THE STACKED DECX 113

This is another way of performing the same Once the numben is named, you figure at most, away from the one you are think-
effect (see prertious page, Name a Number), out the cardat that position. ing of. Ifits position in the deck is a few
and it is similarly dependant on the fact that You now have a card selected, around cards below the one you are thinking of,
youknow your stacked deck. or near that position. In other words, you just cut that number ofcards from the top
Classic Force a card near where you think to the bottom ofthe deck to place their
the card you want is. You don't know card at the number that has been named.
exactlywhere the card is, just roughly, but If their card is above your card, hold the
that's good enough, as long as they take a deck in the right hand, face out, for an
card near where you want them to, even overhand shuffie and run offthe num-
though you have no idea which card they ber of cards required into the left hand,
have taken. Split the deck at the selection tossing the remainder of the deck on top.
point, have them look at the card, and Once this has been done, give the cards
have them replace it at the same position. shuffie and cut, before having the
a false
Now ask them the name of the card spectator count down to find his card.
they selected. When they name it, it is
possible that they have taken the card you
wanted them to. If they did, give the cards
a false shuffle and cut, then have them
count down to the number. If they name a
different card, it will only be a few cards,

114 THE STACXED DECX

There a.ne a number of effects in which A rotation-stacked deck is made to It may be that you only require a few
a number ofpairs ofcards are required, measure for setting up a whole series of matching pairs, in which case the shuffle
e.g. two red Tens, two black Jacks, etc. pairs such as this. Simply divide the deck need not be a perfect one all through the
One such effect which is in the writer's in two, making srue that the two bottom deck, just a section at the top ofthe deck
regular repertoire is a Continuous Do As I cards match. Now weave the two halves of only.
Do Routine where a large number of pairs the deck together and the whole deck will
of cards are required on top of the deck. be set up in matching pairs.

fhe tlUe is only half true. The idea is to near the peeked-at card. You are, in effect, more than a few cards away from your lo-
avoid taking a peek at the next card, im- "forcing" one ofthe cards near what is, in cator. Ifit happens that you are a long way
mediately after a card has been selected. effect, a locator card. from your locator, revert to splitting the
What you do is peek at the bottom card It's a sort offree selection ofone of deck at that point and peeking the bottom
ofthe deck, before the event. Once the a limited number of cards. Provided he card. Avoiding the peek simply adds a
bottom card is known, Undercut the deck takes a card near your locator card, you certain "cleanliness" to your handling. In
and complete the cut, but hold a little should be able to figure out the name short, as soon as their fingers touch the
finger break below the peeked-at card. ofthe card he has taken, by counting card, you know the name of that card.
Now spread the deck and have a card fonvards or backwards in your stack from
selected, but contrive to have it selected your locator card. You should never be

THE STACXED DECK 115

This noutlne nras first described on it than fingers on his hands. His influence sitting at tables bouncing their hands back
one of the original Trik-a-Tapes, and was on, and input into, this effect is still being and fonvard across the table tops had left
marketed as the'No Lapping Coins Thru' felt manyyears after his death. their mark on mybrain. It was not for
Table'. At that time there were many dif- Dai Vernon, Albert Goshman, David me. What I came up with, all by my little
ferent routines available in books, lecture Roth, Ross Bertram, and nine hundred self, was much closer to what I eventually
notes, magazines, etc. but a1l of them, I others have all contributed something discovered was a handling used by Francis
think, depended on sitting at a table and or other to this effect over the years. I Carlyle. That, plus a few other wrinkles I
secretly lapping one or more of the coins remember showing this routine to Ron discovered over the years, are the guts of
during the routine. This routine was Wilson manyyears ago and his response the routine you are about to read.
probably one of the first to dispense with was to call Dai Vernon over and have me The effect is that four coins apparently
the lap altogether, and I always perform do it for him. The Vernon response was to pass through the table top one at a time
it standing at the table. It was possibly say, "That really is flogging a principle to from one hand to the other. There are
Han Ping Chien who originated the effect death". only two other moves in the routine other
ofcoins passing through a table top from As with almost every other routine than the Han Ping Chien move-an Al
one hand to the other, but Al Baker was there ever was, the move known as the Baker simple sleight, which I will describe
the one who conceived the idea ofthe Han Ping Chien move is the backbone of in a moment, and the abilityto Thumb
coins travelling through the table top one the effect. Over the years Slydini taught Palm a coin.
at a time, which more or less became the me his handling several times, but some-
norm. The effect became associated with how I never got round to using it. I think
Tony Slydini, who had more variations on that visions ofthousands ofSlydini clones

118 corNs
 mid-air, he devised the following action to describing it. A little later I will describe
cover that fact. my handling of the move.
As soon as the coins are tossed into Okay-yol have tossed the three coins
the left hand, the right hand, holding its into the left hand, and the right hand,
coin, forms into a fist and hits the table after knocking the table top to prove it
top with the knuckles, several times (Fig. is solid, is immediately placed under the
7). The verbal line I used as the coins are table with the fourth coin (Fig 8). The
tossed, is, "One two three four coins and left hand is now slapped palm down on
a solid table top". This gives you a reason the table top with the three coins (Fig. S)
to close the right hand, which is then and is slowly raised to show that there are
placed under the table. only three coins (Fig. ro). The right hand,
For the benefit of those readers who still under the table, taps the edge of the
are familiar with the effect, I will now coin it is holding against the underside of
describe the routine, during which I will the table top. As soon as you do this, the
refer to the Han Ping Chien move without coin in the right hand is Thumb Palmed.

TheBakenMove
Place four coins in a row on the table top,
from left to right (pig. D. Now pick up the
coins one at a time, with your right thumb
and first two fingers, from right to left
(Fig. z). You are in fact gathering up all
four coins at your fingertips until you are
holding them with the thumb underneath
and the first two fingers on top (Fig.3).
Now turn the hand so that you can tap the
edges of all four coins on the table top to
square them up (Fig. 4) and immediately
toss the coins into the left hand, but hold
back the coin under the thumb (Figs. 5
and 6). The move almost works itself.
At this point you will have three coins,
ostensibly four, in the Ieft hand and one
secretly held in the right hand.
As this writer has an aversion to a hand
which is concealing something hanging in

corNs 779
 The left hand picks up the three coins are secretly holding a coin in right thumb top (Fig. rB), during which action the Han
one at a time from the table and closes pa1m, and you are holding rwo coins, os- Ping Chien move is executed so the right
into a fist holding all three (Fig. u). tensibly three, in the closed left fist. The hand appears to slap two coins down on
The right hand, with its coin still right hand, keeping the Thumb Palmed to the table top while retaining the one in
Thumb Palmed, is brought from under coin concealed, picks up the one coin Thumb Pa1m.
the table in a sort of closed fist with the from the table and places it under the The right hand picks up these two
back ofthe hand upwards, and appar- table. The left hand is now slapped palm coins, again being careful not to expose
ently slaps its coin down on to the table down on the table top (Fig. r5). After a the Thumb-Palmed coin, and places them
top (Fig. rz). In fact, you do the Han Ping slight pause, you clink the two coins un- under the table. The left hand, which
Chien move and one coin is released der the table together, which is intended is apparently holding two coins, is now
from the left hand to a position under the to create the illusion ofone coin landing slapped down on the table (Fig. t9) and
right hand, and the right hand retains its on top ofthe other. The left hand is now raised to show there is only one coin (Fig.
hold on the Thumb-Palmed coin (Fig. r3, raised from the table top to show there zo). The 1eft hand picks up its coin, hold-
exposed view). The right hand is raised to are now only two coins there (Fig. t6). ing it in a closed flst. The right hand is
showthe coin (Fig. t4). The Ieft hand picks up those two coins brought from under the table, again with
Al1 that has apparently happened is (Fig. 17) and holds them in a closed flst. one coin Thumb Palmed, and slaps two
that you have brought a coin out from The right hand, under the table, Thumb coins on to the table and again the Han
under the table and slapped it down onto Palms one of the coins it is holding and Ping Chien move makes it appear to be
the table top. The position now is that brings the remaining coin out from under three (Fig. zr).
there is a coin in view on the table, you the tabie and slaps it down on the table The left hand at this point is actually
empty, but appears to be holding one
coin, so keep the left fist closed as if it
were holding the coin. The right hand
is now placed under the table and the
empty left hand is slapped down on the
table (Fig. zz),then raised to show there
is nothing under the hand (Fig. z3). The
right hand is now brought out from below
the table palm upwards to show it is hold-
ing four coins, which are dropped one at a
time onto the table top.
ately thumb palm it and close the right Surprise, laughter, amazement, are all in
The Hang Ping Ghlen Move hand into a fist. Bring the right hand out there. Some people think it's just ludi-
That's the routine, but we still have't from under the table, back ofthe hand crous. It can get instant gasps from some
got to the Han Ping thing yet, so let's upwards, and bring it to a position a few people, and instant laughter from others.
do it now. The basic idea of the move inches above the left fist (Fig. 24, exposed The coins I use are old half-crown
is to show a coin, or coins lying on the view). Several things happen now, all at coins which were withdrawn from circula-
right hand and, in turning the right hand the same time. tion in the ear\ nineteen seventies. They
over, the coin or coins are aPparently always create interest, especially among
dropped on to the table top, but in fact, r. The left hand is raised offthe table top young people, and I'm talking about
are retained in the right hand, and at the a couple ofinches (Fig. z5). everyone under thirtyyears ofage. They
same moment a coin or coins are dropped want to pick them up and examine them,
from the left hand. It looks as ifthe right z. The left hand moves away from the po- so I let them. Whatever country you Iive
hand has tipped the coins on to the table. sition it has been holding and travels off in, try to get old coins for those reasons.
Because the tlvo hands are held in close to the left, still in a closed fist, but leaving The British half-crown is a reasonably
proximity on the table, the illusion, if the the coin, sort of in mid-air (Fig. z6). large coin, a little Iarger than an American
timing is correct, is perfect. half dollar, so it is ideal for most coin rou-
That is a fair$ loose description of the 3.The right hand is opened, but still tines. Albert Goshman told me that really
move. What follows is a detailed descrip- retains the coin in thumb palm, and is old coins, like from the nineteen twenties
tion of what this writer does, and how brought down onto the table top, trapping or therabout, have a larger silver content
he handles this concept. To help you the coin released from the Ieft hand (Fig. than the modern coins, and will create a
understand it more easily, I'm going to z7 exposedview). better ringing sound when they clink to-
describe a shon sequence that doesn't gether, which is a useful quality for many
actually appear in the routine I perform, A-11 of those actions are more or less coin effects. They are more expensive to
the one just described, but the point will performed as one. The two hands almost buy, and you would have to visit a coin
be more easily understood by stripping touch each other at one point but, if dealer to get them. I use the modern ones.
all the other coins out ofthe picture for a performed correctly, they do not appear Most of the places I work in are so noisy,
moment. to even come near each other. By the time no one could tell the difference.
You will need two coins, one in each the right hand hits the table top, the Ieft On one of my earlyvisits to the United
hand. The left hand is held in a loosely hand is way offto the Ieft. States, in the nineteen sixties, I saw
closed fist with the coin down at the This move is repeated for each penetra- Dai Vernon perform his coins and glass
bottom (fourth finger side) ofthe fist. tion, except for the last coin. As you are routine at a party in Hollywood. It was
The left fist is placed on the table top actually one ahead all the time, all that is Iate, and although he had had more that a
with the thumb on top, and the bottom required for the last coin is to place the few tipples too many, he did it perfectly,
edge ofthe coin can actually be resting Ieft hand, which is thought to hold a coin, and as he reached the end ofthe routine,
on the table, although it is not necessary. back at the centre of the table, make a which is a coin spread with both hands
The right hand, holding a coin, is placed rubbing motion and turn it over to show palm to palm, with five coins appearing
under the table, and held roughly under that the coin is no longer there. between the pairs offingertips, and as
the spot where the left hand is resting on That's it, but there are some things he dropped the coins one at a time into
top. If you imagine that you have appar- about this particular effect that are worth the glass, he said, "Drunk or sober, I can
ently just made a coin penetrate the table, passing on. I always produce the coins always do this bit perfectly. Don't these
tap the coin in the right hand against the from a purse frame, because it creates old coins have a lovely ring to them?" as
underside of the table top, and immedi- different reactions from different people. he dropped them into the glass, one at a

corNs 727
time. I wouldn't be suryrised if Albert got
the idea of using old coins from Dai.
Now back to our effort. Remember this.
Although the coins are being released
Wh atl have described...
from the left hand, they must always ap-
pear to be placed on the table top by the
right hand which has apparently brought ...1s what I have been doing for many, The four copper coins are now picked
the coin out from under the table. There manyyears, but in the last few months, up and vanished as we have already de-
is one thing which really helps to con- I have added an extra bit, which changes scribed. The reason for raising the cup as
vince spectators that this so, and that is the ending ofthe routine ever so slightly. you hand it to the spectator to shake is to
when the penetration ofthe second coin I picked this bit up in Alexander de Cova's prevent him from seeing inside the cup.
takes place. What is happening at this Iecture notes, when I was in Austria. It is That's it. Well, almost.
point is that you are placing two coins on a simple, almost inconsequential item, Once in a blue moon, after performing
the table at the same time, one from each where you drop four silver coins into a the effect, I will say, "That was the slow
hand. Ifyou can contrive to have one of cup, and when they are tipped out they version. Would you like to see the fast
the coins on top of, or overlapping the have changed to four copper coins, but I version?" and as theyhave always said
other coin, it will really look as if both added it to the routine immediatelywith- 'tres", I repeat the effect, but differently,
coins were placed there by one hand only, out a second thought, because I didn't and it is faster.
namely the right hand, because the left have to change a thing; it just fitted right Place all four coins into the left hand
hand at that moment is way offto the left in with what I was already doing. one at a time, counting, "One, two, three,
and nowhere near the right hand. When To help you understand why it was so four", as you do so. Ask the spectators
the right hand is raised and they see the easy to add this to the routine, I must how many coins are in the left hand, as
coins stacked up one on top ofthe other, explain that I always perform a One Cup you display them spread across the left
the idea of shenanigens taking place at and Ball routine when I perform close-up, palm in readiness for the Han Ping thing
that moment never enters their mind. for which I have a metal cup. During the and theywill reply, "Four". Close the left
This stacking up idea is continued with performance of the Coins Through Table hand into a fist. Now show the right hand
the third and founh coins. effect, the cup is always sitting on the empty, and ask them how many coins
Once I have performed this effect I table, mouth upwards, to the right. At the are in the right hand and theywill reply,
usually straighten up and leave the table end ofthe routine, the right hand brings ttNone".
but before I leave I do one more thing. all four coins from under the table, slaps Tell them you are going to place the
I pick up all four coins in the right hand them down, and the effect is over. The left "None" hand under the table, suiting the
and throw them one at a time into the Ieft hand reaches forward and picks the coins action to the words. "Now watch", you
hand which is held palm upwards. I then up one at a time and, as this is happening, say. You thump the table top with the
hand the coins to a spectator explaining the right hand picks up four copper coins bottom ofthe left fist, and bring the right
that they can have them as a souvenier from the rightjacket pocket and holds hand out from under the table, and as you
and as their hand opens to receive them them in Finger Palm position. There is no slap it palm down on the table top you
I open my hand to show the coins are no need to try and hide this, because usually perform the Han Ping Chien move. When
longer there. Result-laughter as I walk at that point, as the trick is apparently you lift the right hand from the table they
away to the next table. over, the spectators are more relaxed. will see a coin. The right hand picks up
I don't know where this move came The left hand places the four silver this coin and places it under the table and
from, I seem to have been doing it all my coins straight into the right hand thumb you repeat the actions three more times,
life. The four coins are held in the right crotch, and the right hand reaches over and each time one more coin appears to
hand and tossed one at a time into the and drops the four finger palmed copper have penetrated the table top. At no time
waiting Ieft hand as you count aloud, coins into the metal cup. do you ever open the left hand to show
"One, two, three, four". Three coins are The cup is immediately picked up by that the coins have gone, until the last
thrown one at a time on the counts "one, the foreflnger and thumb ofthe right coin has been produced from under the
two, three", but on the count of"four" hand, which enables the right hand to table. Then, and only then, do you open
you toss the three coins back from the left close into a fist, concealing the four the left hand to show that it is empty.
hand into the right hand, and close the thumb-palmed coins. The right hand What has happened is that the opening
left hand as if it held the coins. raises the cup up and transfers it to the of the left hand has become the climax
During the count, the left hand is held Ieft hand, which offers it to the spectator of the effect. There is a slight element of,
palm upwards, and the back ofright hand at head height. She is instructed to shake "I know what you're thinking, but you're
is facing right. This is during the "one, the cup and rattle the coins, and then wrong", about it, but it does work.
two, three" count, but on the count of turn the cup mouth down on the table. This may appear to be a rather bla-
"four", the right hand turns back up, palm During these actions you drop the four tant use of the move, and it is, but if you
down, and travels downwards past the silver coins into the right jacket pocket, or master the move it reallyworks. One last
left hand and catches the coins as they are anywhere else convenient. When the cup point. This last, fast version can be per-
tossed out ofthe Ieft hand. The left hand is lifted from the table the silver coins are formed with four totally different coins, if
closes as you say, "four". seen to have changed to copper. that's howyou think.
Tlris is a production of a big coin. I jacket back slightly (Fig. z). The left hand A large bag with an elasticised mouth,
thought I'd mention that just in case reaches down to behind the right knee exactly like the old billiard ball holders,
someone thought it might not be. and the right hand lifts the coin out of the can be suspended from your belt ifyou
The set up is that you have a large coin back pocket and passes it to the left hand intend to use an extra large coin, or as
in your right rear pants pocket Gig. D. which brings it forth into view (Figs. 3, 4 the boywonder once did, produce an old
Beg, borrow, steal, or produce a normal and 5). fashioned ten-inch gramophone record.
size coin from somewhere. Display it and That's it, but there are a few things For out-and-out impromptu work, a
vanish and reproduce it once or twice, you should know ifyou want to get the saucer or a small plate (rig. 5) is the ideal
duringwhich actions the hands are seen most out of this little wrinkle. Use a large object to produce. Ifyou are visiting in
to hold nothing but the coin. Eventually, enough coin so that it cannot drop into someone's home and there are one or
you vanish it and explain that it hasn't the pocket but will sit comfortably, half- two children there, get hold ofa saucer,
gone far. "Look", you say, "It's down way out ofthe pocket. I have also used a plate, or even an ashtray and pop it into
here", and you reach behind the inside handkerchief tucked in the pocket to pre- your back pocket. Produce a coin from
of the right knee with the Ieft hand and vent the coin falling down inside it. If you behind a child's ea! then vanish it, but
produce the large coin. think you are going to make this a regular retain it secretly in the right hand. Reach
The method is simple and the ac- item, and have decided that you are going down with the left hand and produce the
tions are very direct. As you say, "It's to use a particular coin, a wooden holder saucer from behind the right knee. This,
down here", you look down at your right to keep the coin in position at the top of just for those of you who haven't realised
knee, and at the same time the right fist the pocket is something that may be used. it, is usually a surprise. Hold the saucer
is placed on the right hip, pulling the That's what I have done. in the Ieft hand just in front of your chest

724 COrNS
and, with the right hand, squeeze your
nose and allow the coin to drop on to the
saucer. Ifyou are wealthy, let the kid keep
the coin. I never ever did.
Twice, I have been asked, at birthday
parties, to produce a birthday present
for you know who, and both times I have
used this ploy. Just vanish a coin, reach
behind the knee and produce the pres-
ent. You will have diffrculty if it's a guitar
or hi-fi equipment, but both times I got
lucky and the objects were quite small.
One was a gold bracelet in a case, which
helped to create a littie suspense in that I
produced the case first. Wondering what
it was, I opened it to show the bracelet.
Lifting it out of the case I mentioned that
there was an inscription on it, and asked,
"Is there anyone here called Ethel?" You
can imagine the rest. It beats the hell out
of a handle-rype changing bag.
Another item I have used as a produc-
tion in the same situation is a glass of
beer. If the glass is a straight-sided one, as
tall as possible, you can lift it out very eas-
ily. The glass need only be half full and as
it is produced, slosh it around a little.

corNs 125
Way bach when I first thought of this In performance, you have two specta- spectator. Say to him, 'You lent me the
idea, I included it in my lecture notes of tors to assist you, one with a coin and the coin, right?"
the time, and called it the Incomplete other with a finger ring. He will point out otherwise, at which
Coin Miracle, because there was a slight It is important that the person with the point you apparently realise it was the
snag to it. I have since ironed out that ring is on your right. Lay the handkerchief other person. You now ask both spec-
snag, resulting in the change oftitle. on a table and invite a spectator to place a tators to hold the four corners of the
The effect itselfhas been around a long coin at its centre. The coin should have a handkerchief, and you must be careful
time, and there have been many different larger diameter than the finger ring. Now not to allow them to pull the corners of
methods of solving the problem. This is have the spectator with the ring thread all the handkerchieftaut. The coin should be
one man's attempt. Simply put, a coin is four corners of the handkerchief through visible at the centre ofthe handkerchief,
trapped in the centre of a handkerchief, the ring, and push the ring down until it through the rubber band. At this point
by threading all four corners through a traps the coin at the centre ofthe hand- the ring is being held secretly in your left
borrowed finger ring. The four corners of kerchief. hand, which now reaches under the hand-
the handkerchief are held by two specta- When this has been done, you reach kerchiefand, holding the coin through
tors, with the coin clearlyvisible at the forward with your right hand to take hold the handkerchiet pushes it upwards and
centre through the ring. of the four corners, with the coin hanging through the rubber band and apparently
The performer reaches under the down below the hand. In its hanging- through the ring.
handkerchief and pushes the coin visibly down position the coin is placed into the As this happens the rubber band will
through the middle of the ring, leaving the left fingers, and as this is done the left drop into the left fingers. Once the coin
coin lying on the centre ofthe handker- thumb is inserted under the rubber band has popped up into full view, the left
chief. The hand is brought from under and the band is slipped over the coin. At hand is brought from under, into view,
the handkerchiefand the ring is dropped the same time, the Ieft forefinger curls and drops the ring into the centre ofthe
onto the handkerchiefalongside the coin. around the ring, gripping it firmly. The handkerchief, on top of the coin. The rub-
The silk handkerchiefis genuine, and the right hand releases its hold on the corners ber band can either remain out of sight
ring and coin can both be borrowed and and they are allowed to drop down and in the left hand or, if you want to appear
there are no switches of either. There is a drape themselves over the left hand. "clean" it can be dropped to the floor as
gimmick involved, and it is a small rubber The right hand reaches under the left the coin pops upwards into the centre of
band, around a half-inch in diameter. hand and takes hold ofthe coin quite the handkerchief.
The handkerchief should not be too firmly. Now remember, the person on What really helps to sell this effect is
large, maybe ten or twelve inches square, your right is the one who gave you the the clean look of the set up, in which the
with a hem of the small rolled variety, ring. You turn to that person and your spectators place everything into position.
typical of a magician's handkerchief. The left hand is raised to point at him, and in You can get them to lay out the hand-
handkerchief must not have a big or thick doing so, the ring is actually dragged off kerchief, place the coin at the centre and
hem. The only preparation is to have the the handkerchief, in the curled forefinger, gather up all four corners to thread them
rubber band in position over the tips of being immediately transferred to the palm through the ring, before you even touch
the first rwo fingers ofthe left hand. as the left forefinger is pointed at the anything.

tz6 corNs
Spellbound is the title of an ffict of Dai In addition to the copper and silver An alternative method of presenting
Vernon's, in which a copper coin changes to coins required, you also need a large the same effect is to secretly drop the
a siller coin andback again, andin some coin, three to four inches in diameter. All large coin down the right sleeve. When
hands, repeatedly. rhb idea proddes a cli- three coins are placed in the inside breast you reach the stage where you are holding
max to that effect. pocket on the left side. Alternatively a the silver coin between the left thumb
shirt pocket on this side will do. In reach-and fingertips, and the copper coin is
ing into the pocket to remove the copper palmed in the right hand, just drop the
and silver coins to perform the effect, the right hand to obtain the large coin and
large coin is secretly dropped into the top bring the right hand up and in front ofthe
ofthe left sleeve. silver coin. The left fingers release their
As long as the arm is held in a bent hold on the silver coin, which is allowed
position, the large coin will remain in the to drop on to the fingers ofthe left hand
sleeve at the bend of the elbow. You will and at the same time take hold of the
find that the Spellbound effect can be large coin. The right hand is removed and
performed quite easilywith the arm held the large coin revealed.
in this position.
When you reach the position where
you have a copper coin palmed in the
right hand and a silver coin displayed at
the right fingertips, drop the left hand to
your side and the large coin will drop into
the left hand. Raise the left hand to about
waist high, with the back of the hand to
the spectator. Don't worry that you can't
close the hand into a fist. Just hold the
large coin quite loosely.
The right hand now pushes the silver
coin up into the left hand, between the
coin and the palm. You will now find that
you have to grip the large coin a little
tighter to hold the silver coin against the
palm. Turn the left hand over and open
out all the fingers and the spectators will
see a large coin $ing on your palm. The
silver coin is underneath it.

corNs 727
This is a sleight I came up with, all by myself, The method is extremely simple but the to a central position in front ofyour body,
in bygone days. Yes, it was a long ttme ago, effect is definitely out ofproportion to the the left hand approaches and apparently
and although I am quite sure that others effort required to master the move. Use a removes the coin from the right hand,
have discovered it for themsel",tes, I haw not, largish coin, like a Crown piece or a one which immediately drops down. As the
as yet, seen it in print. The effect is that you Dollar coin. The coin is displayed between two hands come together, the left hand
display a coin at thefingertips of your right the thumb and first two fingers of the moves a little faster than the right hand.
hand. The Iefi hand approaches the ight right hand, with the back of the right hand The right hand should almost look as if it
hand and remoues the coin from that hand. toward the spectators, and the fingertips isn't moving. The illusion is perfect.
The lefi fingers dre now opened to show the pointing to your left Gig. D. Unknown to I have played around with this move for
coin is no longer there. the spectators, the ball of the right thumb a long time and have discovered avaria-
is actually behind the coin and pressing tion which brings the retention of vision
against it. In this position it is very easy principle into play. Hold the left hand up,
for the right thumb to pull the coin back about twelve inches in front of the left
out of sight behind the right fingers, and shoulder, thumb and fingers spread well
that is exactly what you do as the left fin- apart, palm out. The right hand, holding
gers and thumb approach to remove the the coin as already described, approaches.
coin from the right fingers (Fig. z). The right fingers and thumb are placed
The timing is important. The right over the left thumb crotch, placing the
hand displays the coin, ever so slightly to coin at the centre of the Ieft palm. The
your right and, as the right hand is moved left fingers and thumb are closed around

rz8 corNs
the coin, and the right hand is withdrawn.
As before, the thumb pulls the coin back
into the right fingers as the Ieft fingers
close around it. There must be no hesita-
tion. Again, the illusion is perfect.
Since writing the foregoing, I have
seen a DVD of, and have met, one Mickey
Silver who, I suspect, does something
very similar to what I have described. It's
only a suspicion, because he does it so
well, I'm just not sure. He has taken the
retention ofvision concept into a new the first place. Does that make sense?
realm, and does so much more with it No? It will if you ever get to see him.
than was ever dreamed of by mere magi- I saw a demonstration DVD with no
cians. There are times when he places the explanation, then I saw him do it live. The
coin into his hand, and just in case you DVD with the explanation will be on the
don't believe what you have seen he picks market long before this book ever sees
the coin out of his hand again to showyou the light of print. If you like this kind of
that he really did place the coin into his magic, and I do, check it out.
hand, when in fact it was never there in

coINS 729
 This k something I hatte played around with Because it nns never a regular with me, be behind you as you commence the ef-
I'm not sure that I can advise on how to fect. The remaining eight coins are held,
for many, many years but, apart from a frw
impromptu performances perhaps around present it, so we will assume that it is an four in each hand in the Downs Palm
opening effect. It makes the description position, in both hands (Fig. z).
fiue years apar-t, I can't say I ever got serious
about it, andbeforeyou jump to thewrong easier for me. You will need twelve coins The four coins in the right hand are
conclusion, the reason it never became a and an elegant looking preferably long- produced one at a time, from thin air,
regular with me is that I was already per- stemmed glass. The preparation is simple. and as each one is produced it is placed
The glass is placed mouth down on your between the fingers ofthe left hand to
forming the regalar Misef s Dream and there
was no way I could do both. table and four coins are placed on the display them. The first coin produced is
The effect is simply the production of a base ofthe glass (Fig. r). The table should
number of coira from the air which are then
dropped into a stemmed glass. It involves a
cor.ryIe of subtleties, one of which I came up
with somewhere betw een forty-fiite and fifiy
yedrs d.go. The other cute Mea happened in
much more recent lears.

13O COrNS
 remember that you will, ideally, want to
produce them from the Downs Palm to
present some kind of continuity of effect.
Ifyou are going to play around with
this item, I would beg you to use coins
with a certain amount of body to them.
What I really mean is, for God's sake
don't use those thin bits of tin which are
being sold as palming coins, and by that I
mean the really thin ones. They are okay,
maybe, in a shower, but to be dropped
singly into a glass you need something
more substantial.
For the record, I first staned playrng
around with this item some fifty years
ago. I tried it as a follow-up to the Miser's
Dream. At that time I was trying all sorts
of variations on the HorowitzlVertonl
Victor coins and glass thing. The original
wasn't good enough for me. I wanted
something better. I never got it. The glass
I was using then was a straight-sided
goblet with a stem and base, which I was
using for the Devano Rising Cards.
It was with this glass that I came up
with the idea of tossing the coins be-
hind the glass into the palm; remember
I was into the coins and glass thing. The
actual effect I came up with at that time
was the climax to the routine. The coins
placed berween the forefinger and thumb, were tipped out of the glass into the right
concealing the four coins in the thumb hand. With the left hand holding the glass
crotch. The remaining three coins are cupped, the right hand tossed the coins
placed berween the other fingers. back into the glass one at a time. The
With all four coins on display in the left right hand then picked up the glass from
hand, the right hand reaches round and the left hand and very slowly turned it
picks up the glass from the table, conceal- over to show that the coins had vanished.
ing the four coins on the base ofthe glass This particular move looks just as
simply by holding them on the fingers good with an opaque cup or glass as it
under the base (Fig. 3). The four coins on In fact, they are thrown behind the glass, does with a see-through one. There are a
display in the left hand are dropped into hitting the rear side ofthe glass and drop- number of other moves than can be added
the glass one at a time. The right hand ping into the palm of the left hand (Fig. to enhance the effect, such as transferring
now shakes the glass a little, in an up and 4). Trust me, the illusion is perfect. It ac- the glass from one hand to the other, and
down fashion, making the coins rattle in tually looks as if the coins are going into stealing the coins from the thumb crotch
the glass. the glass. Once all four coins are gathered and replacing them as you do so, but I
The left hand now produces its four in the left palm, the right hand takes the don't think they are really necessary.
coins one at a time from the Downs Palm base ofthe glass and removes it from the One little tip on practicing the produc-
and drops them into the glass as each one Ieft hand as before, gives it a slight shake tion of coins from the Downs Palm. I am
is produced. The glass is now taken in the as the coins are straightened out in readi- sure that a large section ofthe people
palm-up left hand with the stem between ness to produce them in the Ieft hand. reading this will already be able to per-
the second and third fingers, so that the That's it, It's all over, but let's talk form this sleight, at least with one hand.
bowl is actually cupped in the left hand, about it. For a start, you will realise that With this routine you will have to be
with the stem and base hanging down be- you can have more that four coins in the able to do it with both hands. If you can
Iow the fingers. The left hand shakes the Downs Palm in the left hand. The right already do it with one hand, then practice
glass a little to make the coins rattle, and hand can only have four coins at the com- with both hands simultaneously. You will
as this is done the right hand straightens mencement as you will onlybe able to find that ifyou are right handed, and you
the coins out into the Downs Palm. These display four coins between the fingers of practice with both hands simuJtaneously,
four coins are now produced one at a time the left hand. You can have as many coins the left hand fingers will mirror the right
and apparently dropped into the glass. as you wish on the base ofthe glass, but hand's actions.

corNs 131
 ACoinVanish

For the record, this fold was the discov-

ery of Brian MacCarthy. He used it for a
chief shown on table for clariry). You will penetration effect, with copper and silver
see that there is a large opening all the coins. Several people other than this
What I nrant to describe here, is not a way down the back ofthe handkerchief writer also discovered you could use it for
coin vanish but a method of disposing of (pig.+).Anything dropped into the open- a vanish, but I think this one is as clean as
a small object, such as a coin or cigarette ings marked X will fall right through and you're going to get.
lighter, after it has apparently vanished. land on the floor. Now, an added bit. You have the coin
Having thought about it, it seems silly not To prevent this happening, the right concealed in your right hand. Take hold of
to include the coin vanish that I usually hand raises the corners held between the the handkerchiefby two adjacent corners
use as a prelude to this action. thumb and forefinger, a few inches up and open it out in front ofyour body,
The four corners of a handkerchief are above the remaining corners (Fig. 5). This about waist high. The coin is in your right
gathered up and a heavy coin is dropped creates a sort of hammock at the centre of hand. Cross your hands over by placing
into the centre folds of the handkerchief. the handkerchief. If a coin is dropped into the right hand under your left elbow, and
The handkerchiefis now opened out to the hammock, it will stay there. To affect crossing the left hand over the right arm
show the coin is no longer there. A glance the vanish, the right fingenips touch the to the right, to show the other side ofthe
at the illustrations will show the fold. edge ofthe coin nearest the spectators, cloth. In this position you can drop the
The handkerchiefis first folded in half through the cloth, and the coin will slide coin from your right hand into your left
diagonally (Fig. r), and the ttffo comers out of the handkerchief into the right jacket pocket. After the coin has been dis-
AA are held between the second and third palm (Fig. 6). The right hand is dropped posed of, the hands should revert to their
fingers ofthe Ieft hand (Fig. z) The other to the side. The handkerchiefis now al- original position, and proceed to fold
comers, BB and CC are brought up to lowed to unfold from the left fingers by up the handkerchief. This is the perfect
the position shown and held between the releasing some ofthe corners, to reveal disposal system for anything that is stolen
thumb and first finger (Fig. 3, handker- that the coin is no longer there. from within the folds of a handkerchief.

732 COrNS
The Sleeue Dropper is a dnice originally later. It can be worn in either sleeve, but stay there. To release it into the sleeve,
intended to release a jumbo size coin into the we will assume that the reader is right- the right hand approaches upwards from
performer's sleeve. lf, afier the coin has been handed and the dropper is worn in the left under the elbow and on the outside ofthe
released into the sleeve, ihe performers arm sleeve. It is broadly based on the old bil- sleeve, and squeezes opposite sides ofthe
remains in a bent position, the coin will re- liard ball dropper, which was a cloth tube, coin between the forefinger and thumb;
main in the slene.Whenthe hand is dropped with an elasticised mouth. Several balls the coin will pop out of the dropper into
to the side the coin will drop into the waiting were loaded into the top ofthe tube and the sleeve. This squeezing action is usu-
hand, to be produced or revealed as desired. theywere squeezed out of the bottom, ally performed in the act of reproducing
elasticised end of the tube one at a time, a previously vanished normal-sized coin
Fon the moblle close-up worker who as required. from under the elbow.
performs in restaurants or does walk- The Sleeve Dropper operates on ex- The coin can also be released as you ap-
about magic at fairs and shopping malls, actly the same principle. The jumbo coin parently pull back the sleeves. Just point
the Sleeve Dropper can be reloaded in is dropped into the opening near the top the left hand forward and reach under the
one second as you move from one spot and it is squeezed out ofthe bottom end. left arm with the right hand and squeeze
to another. It didn'ttake averylarge leap There is a stiffener inserted into the top the coin out as you pull the sleeve back.
of the imagination to realise that objects end ofthe dropper, to keep that end flat, Now repeat the action with the other
other than a large coin could be secretly enabling it to be pinned or sewn to the hand. Those actions are designed to show
loaded into the sleeve by means of this top edge ofthe sleeve under the armpit. both hands are empty at that moment.
versatile aid. With the dropper in position, you can
For explanation purposes, we will place a jumbo coin into the sleeve under Continued...
describe the use of the dropper using a the armpit and directly into its top open-
jumbo coin, and come to other objects ing. Once the coin is in the dropper it will

corNs 133
Thc Sleeve Droppcr.
A few ideas to inspire u to somethingbetter.

The E:rpansion oI Sllven them being tossed into the left hand. now pushes down and the fingers pull up,
The effect is that a regular half dollar, dis- Show the coins in the Ieft hand and the deck will be ejected into the sleeve.
played in the right hand, is slapped onto toss them all into the right hand and, as As before, these actions are repeated with
the left palm and is instantly transformed you do so, drop the left hand and catch the other hand.
into a jumbo-size coin. the jumbo coin as it drops. The right Ifyou want to produce a deck of cards
With the jumbo coin in the dropper, hand, still holding the coins, takes hold minus the card case, simply tie a length of
apparently place a regular coin into the ofthe spectator'sjacket on the right side, tacking thread around the cards in both
left hand. Open the hand to show the coin and opens it slightly and your left hand directions. This will hold the complete
is no longer there. The right hand pro- reaches in and produces the jumbo coin. deck intact. Once the deck is released and
duces the coin from the left armpit and you are holding it in your hand, spread-
releases the jumbo coin into the sleeve lf,Iith a Dech oI Gards ing the deck slightly will break the thread.
at the same time. The left arm is lowered Unlike a jumbo coin, of cards is a
a deck The tighter the thread is tied, the easier it
and the jumbo coin drops secretly into set, or reset, which
little more difficult to will be to break when the deck is spread.
the waiting left hand as the regu.lar coin makes things awkward for the walk- Tacking thread is a very weak thread
is displayed in the right hand. The right around performer; but, depending on used by tailors for fitting purposes. It is
hand turns over and, as this is done, the conditions, it is not impossible. mostly used by magicians in the Hindu, or
regular coin is Thumb Palmed. As the Remove thejacket and load the card Gypsy Thread Effect.
right hand is turning over, the left hand, case containing the complete deck into
holding the jumbo coin, is brought up and the dropper, just as you did with the Using Othen Obiects
the rwo hands are slapped together with jumbo coin. Now force the deck out of the A first thought is that anything similar
the jumbo coin between them. There is an bottom ofthe dropper at least halfiuay. in shape to a large coin could be used. A
audible'click' sound as the thumb-palmed The elastic will hold the deck quite firmly. lady's powder compact is almost made
coin hits the jumbo coin. The right hand You will have to experiment with just how to measure. Why one should wish to
is lifted offthe left hand to show that the far out ofthe dropper the deck projects. produce a lady's powder compact does
coin has now expanded. The regular coin It really depends on several factors, like, require a little imagination, but there
remains unseen in the right Thumb Palm. is it an opening trick? Are you going to do is probably someone, somewhere who
it halfivay through the act? Is it the only would.
Wtthahrnselbame trick you are going to do? A circular coaster or a beer mat seems a
If you perform with a purse frame, the There are two methods of releasing the likely candidate, but most of them would
production of a jumbo coin is a natural. deck. The first one is exactly the same as probablybe a little on the lightweight
Simplyvanish a coin and reproduce it with the coin. Simply squeeze the deck side. Ifyou decide to use one ofthem for
from a purse frame, then throw the jumbo out by pinching the dropper, above the a definite effect, there is no reason why
coin in as a kicker. deck, with the forefinger and thumb. To you couldn't add a little weight to it by
do this easily, the deck should be a little sandwiching a piece of metal between two
Tlre Miser.'s lrream more than halfivay out of the dropper to of them.
You can perform a short Miser's Dream begin with. The classic'Sherlock Holmes'-type
effect [see chapter 4] with the jumbo coin In the second method the deck is magnif,,ing glass, complete with handle,
as a climax. released under cover of pulling up the is another possibility although, like the
Secretly get five or six coins into the sleeves to show the hands are empty. It is aforementioned articles, it would have
right hand. Reach under someone's similar to that already described with the to be worked into a definite routine. A
armpit and produce one of the coins at jumbo coin, but in this instance the deck large pocket watch? Okay. Let's leave it
your fingertips. Toss the coin into the left is already halfiuay out ofthe dropper. with one last thought. A chrome metal
hand. Reach under their chin and bring The right hand reaches under the left ring. You know the one you use in your
forth a second coin. Now reach under armpit and the thumb is placed on the ring and rope routines. Go on. Use your
your left arm and produce a third coin, upper end ofthe deck, through the thick- imagination.
and at the same time release the jumbo ness ofthe sleeve. The right fingers are Finally, check out your shirt cuffs if you
coin into the sleeve. Produce the remain- placed on the bottom edge ofthe dropper, intend to use the dropper on a regular
ing rwo or three coins as desired, all of against the side of the deck. If the thumb basis. They can present problems.

r34 corNs
I nememben neadlng somewhere that that you can use a slightly larger coin than
Max Malini had a coin vanish that utilised normal. Because it is disposed of
the principle of dumping the coin into almost immediately, and before
your pocket at a moment when it was the actual vanish takes place,
least expected. The following is how I there are no fears about howyou
think I remember it. The coin was appar- are going to position the hand
ently placed into the left hand but actu- that is concealing the coin. The
ally retained in the right hand. Turning actions have a certain misdirec-
slightly to the left, with the left hand still tion built into them.
closed apparently holding the coin, the I have just reread what I have
right hand pulls up the left sleeve a little, written and realise that in the action of
exactly at the point of the elbow, and at pulling the sleeve, the right hand hold- \)
that moment the right hand released its ing the coin is travelling in a downwards
hold on the coin and it was dropped into direction from the point of the elbow,
the left jacket pocket, which was on the which takes it right above the left pocket.
side awayfromthe spectators (Fig. t). Tryit.
The left hand was then opened to show Elsewhere in this book there is a vanish
that the coin was no longer there. of a deck of cards which uses the same
To me this was the almost perfect coin principle.
vanish. The good thing about it is the fact

corNs 135
This is a coin routine that I played around It uses a coin production from Jack chief. Any handkerchief will do, but make
with for manyyears before I ever per- Chanin, a coin vanish from the Pageboy, it a nice looking one, of a heavy-ish silk,
formed it. t had done bits of it in a Miser's and a production-in fact a reproduc- and not too small.
Dream routine, but the main reason for tion-that I first saw Fred Kaps do many The preparation is simple.
the long delay in performing it as a rou- years ago, but which, I have been told, is Secretly get hold oftwo coins in each
tine was that I wanted to do it in a stand- a Dai Vernon idea. The Kaps thing was hand. The handkerchief is in your top
up act, away from tables, and for a long marketed by the Unique Magic Studio in pocket. Remove the handkerchief and
time I just couldn't figure how to do that, London, where someone had dreamt up open it out to show that it is what it ap-
until one day it just clicked into place. a gimmick to do the work for you, which pears to be, then drape it over the left
would have been okay if it had worked, hand and, as the hand is covered, push up
but it didn't. I figured out a way to do it one ofthe coins in the left hand and hold
without the gimmick, then saw Fred do it between the first finger and thumb, un-
it later, and he said he didn't mind if I der the handkerchief (Fig. r, transparent
did what he did. What he did was a much view). The right hand approaches the left
better way of loading the coins into the hand, takes hold ofthe coin through the
handkerchiefthan I was using. handkerchief, and 1ifts it free ofthe left
The routine consists ofthree parts, all hand. The right hand now turns over, grv-
quite short. You produce four coins, you ing the handkerchief a flick as it does so.
vanish them, and then reproduce them. The handkerchiefwill now drape down
You will need four coins, plus a handker- over the right hand, and the audience will

86 corNs
 60
r/ lr
3 5

see the coin at the centre of the hand- with the one between your lips, and drop has become known as the Nelson Downs
kerchief, being held by the right fingers them onto the centre ofthe handkerchief, palm, which isn't really a palm, just a
through the handkerchief (Fig. z). which is covering the left palm. You are method of holding the coins in the thumb
The left hand takes hold ofthe coin now going to vanish all four coins. The crotch (Fig.5). The left hand is apparently
and presses it against the centre ofyour right forefinger points to the coins, right holding the coins under the handkerchief.
forehead, and leaves it there. Don't worry palm upwards, with the fingers curled Tum to your right, holding the left hand
it will stay there. The right hand now slightly inwards, thumb extended (pig.+). out at arrns length, up high, in front of
pushes up a coin to the fingertips and The left hand is now going to turn over, your body. The right hand reaches up, al-
the left hand repeats the previous action apparently holding the coins through the lowing the right palm to be seen, which is
oftaking it and turning the hand over to handkerchief, and allow the handkerchief the reason for the Downs palm, and pulls
produce the second coin. The right hand to drape downwards from the left hand. one of the corners of the handkerchief,
takes this coin and presses it on to the What actually happens is that all four and your left fingers release their hold on
forehead alongside the first one. These coins are dumped into the right hand, the handkerchief at the same time. The
same actions are repeated for the third which drops down to your side. The audi- handkerchief will drop down and hang
coin, so that you now have three coins on ence will hear an audible clink sound as from the right hand. The coins have ap-
your forehead (pig:). The fourth coin is you do it, and will assume it is the coins parently vanished. Shake the handkerchief
now produced, and placed between the being gripped in the left fingers. I will to show that nothing is contained within
lips. You open out the handkerchiefand come back to this point later. its folds.
drape it over the left hand, palm upwards. As the right hand is dropped to your Take the handkerchiefin the left hand
Take the coins, one at a time, starting side you arange the four coins into what by one corner and let it hang down in

corNs 737
 .-/\
\7

7l

front ofyour body. The right hand is The right hand corner, B is brought the coins and your left thumb. You will
going to come up and take hold of an over to the left hand and placed over the find during those actions that the coins
adjacent corner and open it out to display coins at corner A. You will have to tilt will tend to spread a little. This is good,
the fact that it contains nothing, but this the left hand a little to prevent the coins because that is exactly how you want
is done in a particular way (Fig. 6). sliding out ofyour grip (Fig. 8). The left them. You now strike the bottom of the
Remember, you have four coins con- thumb is replaced over this corner, so that handkerchiefwith the right hand, or blow
cealed in the thumb crotch. The right the coins are now trapped between the it gently, proving that it contains nothing.
hand approaches the left hand and leaves two corners and are being held there by You now pantomime the catching of
the four coins on the left fingers, which, the pressure of the left thumb. a coin in the air. Toss the imaginary coin
at that moment are being slightly covered The remaining two corners at bottom upwards into the air, and your eyes follow
by the corner ofthe handkerchief, so you left, and the folded corner now at bottom its imagined flight, up across and down
just lay the coins on the handkerchief, and right, are brought up individually and are towards the handkerchief, at which mo-
the left thumb is placed on the coins to held by the fingers ofthe left hand (Figs. ment you release your hold on one ofthe
hold them there (Fig. 7). The right fingers 9, 10, and rr). The forefinger and thumb coins, which will drop down into the cen-
and thumb slide their way down and of the left hand hold the coins in position tre of the handkerchief. The fact that the
along the edge ofthe handkerchiefuntil while these last adjustments are being coins have spread a little will make the
they reach the other corner, which is held made. The final result is that you are releasing of the coins one at a time easier.
up to displaythe handkerchief beingheld secretly holding the four coins within the This action is repeated for the remaining
at the two top corners, one in each hand corners ofthe handkerchief, and there is three coins. Open out the handkerchief
(Fig. 7 again). only one thickness of material, between on your left palm, to display all four coins.

138 corNs
Exposed
view of
coins. *-J a-
,!t
'{ "r

ii/
\-:
iro
I

Let's go back to the vanish ofthe four centre of the handkerchief before trying realised that this was the answer to dis-
coins from the centre ofthe handkerchief. four coins. The really odd thing is that the playing the coins at all times. When you
This was actually the first "move" I ever sound of the coins clinking seems to be try it, you may encounter little problems,
devised, and it was to vanish a single coin. a confirmation of the fact that the coins like your forehead isn't exactly flat. Don't
Eventually I used it to vanish any small really are in the handkerchief. worry it can be done. You may have to
object: dice, cigarette lighters, billiard The stumbling block for this writer, for display one in the centre, and the other
balls, etc. For a long time I used it exclu- a long time, was what to do with the coins two, one on either side, but slightly round
sively for vanishing a billiard ball, when I as you initially produced them in the the bend ofyour forehead, a little towards
did such things in public performance. I Chanin production. Ifyou placed them the temples. Another possible solution
suggest you practice it with a single coin in your pocket you had to bring them out is to place the two flanking coins high up
and no handkerchief, just to get the hang again to vanish them, and I didn't want over the brow ofthe forehead. Do not, at
of it. Place the coin on the left palm. Point to have to use a table to lay them on. The any time, wrinkle your forehead while the
to it with the right forefinger, right palm idea for displaying them on the forehead coins are there. And finally one very last
upwards. Now turn the left hand over, came from an old gag I remembered one piece of advice: If all else fails, just place
dumping the coin into the right hand, day, where you stuck a coin to your fore- them on top ofyour head, one at a time as
which drops down to your side immedi- head in this manner. You then invited a they are produced, and I didn't discover
ately. The Ieft hand moves a little to the spectator to try it and as you handed him that until after I was using the forehead.
left, performs a rubbing motion, and turns the coin you switched it for a duplicate As I write, I realise, that if you have
over slowly to show the coin is no longer with a spike sticking out of it. a bald head, you can stick them almost
there. Try doing it with one coin in the I was thinking about that gag and I anywhere on top ofyour head.

corNs 139
 T l'1e ]\/ll s er's Dr e orrl

So youwant to pnfo* the Miser's Dream? Tlre perlonmen neaches lnto the the audience, the left hand places one
Okay. Left talk about it first. It ham't air and pnoduces colns at will. ofthe coins at the fingertips ofthe right
always been called the Misef s Dream. Ouer hand. The right hand apparently tosses
the years it has had quite a number of names: Thafs the efiect, now read it again, the coin into the air. The coin vanishes.
The Shower of Money, the Aerial Treasury, and again and again. I'11 tell you why This is repeated with the remaining three
Aerial Mint and so on. you should read it again. Because over coins so that, in effect, all four coins have
It seems to have been T. Nelson Downs the years, ifyou decide to include the vanished. The left hand now reaches into
(right) who popularbed the use of the title effect in your regular repertoire, you will the air and produces all four coins at
"Misefs Dream" and, somehow, it caught on get sidetracked into including all sorts once, displayed between the four fingers
with magicians. Most performers refer to it ofvariations into your routine and it is and thumb of the left hand.
by that title. possible that you may start wandering Nowthat is averygood andvery strong
The effect is sirnple and very easy for an from the basic effect, which is as we have effect, but it should never be included in
audience to follow. The performer reaches described it. the middle of a Miser's Dream routine,
into the air and produces coins at will. Now Now there are a number of other because it detracts from the effect of a
read that ffict again. No, don't bother, I'll effects with coins which can be incorpo- continuous production ofcoins at the
say it again. rated into the basic effect and perhaps en- fingertips.
hance it, but there are manywhich don't. You can do it before you commence the
Example: The performer tosses four routine proper. You can even do it after
coins from the right hand into the left the routine, but don't ever do it in the
hand. Standingwith his left side towards middle. Right at this very moment you are

r4z ttts Lttspn's oapN\,r

probably saying to yourself, "Why?" Wel1, left hand and the right hand produced
I have already told you why, but you prob- coins from the air and dropped them into
ably didn't quite let it sink in, so I'11 repeat the hat. Today it would be difficult to
it. Because it detracts from the effect of borrow any kind ofhat from the average
a continuous production ofcoins at the audience, let alone an opera hat.
fingertips. The modern performer, if he decides
Maybe you think I should explain to use an opera hat, will have to carry his
further? Okay,Iwill. The effect I have own with him. The problem with using a
described comes under the heading of hat is that the audience may not hear the
Coin Manipulation. You may, like many coins dropping into the hat most of the
magicians, think that this is all right, but time. The old timers overcame this prob-
I don't. Now this is strictly a personal lem by having a metal plate fixed to the
opinion, but a display ofdigital dexterity inside crown of the hat, if they used their
in the middle of a Miser's Dream routine own hat. If they used a borrowed hat they
is wrong, wrong, wrong. would openly place a small plate or saucer
There is no real valid reason why into the hat so that the spectators could
you cannot display a ceftain amount of floating by and reach out with the right actually hear the coins being deposited.
dexerity in the routine, but the point I hand and produce a coin. Now look at the So what do the modern performers use,
am trying to make is don't make a feature audience and smile as if you had achieved ifthey can't borrow a hat?
of it. If you are making a continuous pro- something. Well, you can use any receptacle you
duction ofcoins at the fingertips, don't The effect upon the audience is that wish, bearing in mind that you do want
suddenly stop in the middle and start per- the hand reallywas empty and suddenly the audience to hear the coins as they are
forming Coin Manipulations which have it produced a coin from the air. That may dropped into it. A plastic bucket would
nothing at all to do with the basic effect. not be a perfect example ofthe point I am do, but the sound ofthe coins landing in
Ifyou do wish to display a little dexter- trying to make but it will suffice for the it would be rather dull.
ity in the effect, then make it part and par- moment. Just make sure that any manipu- The type ofreceptacle you use really
cel of the effect. Example: Imagine that lations you do include in the routine don't depends on either the type ofact you do
the right hand is continuously producing detract from the basic effect. or the type of audience you perform to. If
coins from the air. Suddenly, you reach you perform in nightclubs or in classyup-
out to grab one, you now look at the right TlreBucket & Colns market hotels you could use a champagne
fingertips and there is nothing there. The Now let's take a closer look at the actual bucket, but ifyou are performing at a sea-
right hand opens out, fingers spread apart, effect. Prior to perhaps :.9r4, the almost side holiday resort, in the open air, with
palm upwards. You look at the hand; now standard procedure adopted in the perfor- everyone sitting around with open-necked
look up at the spectators in surprise, as if mance of the MiseCs Dream was to bor- shirts and shofts, a champagne bucket in
you had expected a coin to be there. Now row a top hat or opera hat from a member a silver-plated stand might look a little
look to your right, as if you saw something of the audience. The hat was held in the out ofplace.

THE urrsrn's onsaM t43

 In this instance, a plain straightforward book, around thirry years experience of pends on how thick the base ofthe bucket
tin can would do. It doesn't really matter performing the Miser's Dream, and my is. The one this writer is currently using,
too much what kind of receptacle you use, experience tells me that you don't really and has used for many years, was bought
provided it suits your act or the place you need any special kind of bucket. Within from a magic shop. A suitable bucket can
are performing in. certain limits, almost anything will do. be purchased from Patrick Page Magic,
If you perform in top hat, white tie and First, it should be of a certain size. Not www.PatrickPageMagic.co.uk.
tails, then everything you use should be in too large, not too small. Something the A tin can of the right size is just as good
keeping with that image, no matter where size of an office wastepaper basket is too and they give a beautiful sound.
you are working. If you wear a shiny, big. An average-size fruit can is too small. Now we come to the coins. Again,
glittering costume you could cover the Which brings us back to our champagne almost any coins will do. American half
outside ofwhatever receptacle you use bucket, which is probablyjust about the dollars are perfect. The most important
with glitter plastic to match the outfit. right size for most purposes. Remember aspect ofthe coins you use is that they
Having said that, let's think about the we are talking about a champagne bucket must be seen. Little tiny coins would
bucket you are going to use. and not an ice bucket. Ice buckets come never be seen in a large venue. The larger
Over the years, the writer has prob- in all shapes and sizes. A champagne the coins, the better. Ifyou feel you can
ably used every kind ofbucket possible. bucket is made to hold a bottle of booze handle silver dollar pieces then go ahead
There are many different ty?es available surrounded by ice. Anyrhing around that and use them. Many magic shops can
from the magic shops. Some of them have size or a little smaller should be about supply you with what they call Palming
secret chambers concealed in the handles right. Coins. Fred Kaps did a routine with large
to hold coins so that you can steal them If and when you decide to buy a nice coins in his act. Fred always referred
out without the audience being aware looking prop, don'tjust rush out and to that routine as the Miser's Dream. It
of the fact. You will see buckets with buy the first thing you see just because wasn't a true description. It was more of a
load chambers hidden in the base of the it looks right. It has to sound right, too. manipulation routine in which those very
bucket. Some ofthem have gadgets inside Drop a coin into it. What you should be large coins appeared and disappeared and
the rim ofthe bucket which secretly drop looking out for is either a nice ringing occasionally he would drop one into a box
coins into the bucket. sound, or a pleasant echoing sound. Ifyou on his table. The finale to the routine was
With experience you will finally decide get a dull flat thud when you drop a coin the production offive coins between the
what is bestfor you. Which brings us to into it, forget it. fingertips ofboth hands in the fashion of
one ofthe purposes ofthis chapter. I A stainless steel receptacle is prob- a T. Nelson Downs Coin Star.
would like to offer you, in return for the ablybest for sound, but some aluminium T. Nelson Downs, the King of Koins
cash you have spent in acquiring this buckets can soundjust as good. It de- is the man who, probably more than any

144 rur urspn's onrevr

other, popularised the Miser's Dream. Maybe there isn't enough variety in the with coins apparently cascading down
He was certainly one of the first to offer material. from it, to close the act after he had per-
a magic act devoted almost entirely to Manyyears ago I had an act which formed a couple of other more standard
one subject-in this case, coins. I often consisted entirely of tricks with money. effects. In the case of Downs, the man was
wondered how it was possible to enter- The finale was a large production ofpaper obviously selling himself to the audience
tain large audiences in large theatres with money. Paper money appeared from more than his effects with coins, but even
just coin tricks, until I saw a small film everywhere. My hands, handkerchiefs, the he presented Card Manipulations to close
clip of the man himself. Only then did I coin bucket overflowed with it, a large the act.
realise that he was a great showman with wire basket filled up to the brim with all Having said all that, I hope and pray
a terrific personality. kinds ofpaper money. An upturned para- that some young man or woman will ap-
Albert le Bas, the Dublin magician, sol was filled with money. pear from nowhere and prove me wrong.
used a child's sand bucket to catch his Other coin tricks like Coins to Glass
coins in. Albert's was a fairly fast and were included in the act. The whole act
almost furious presentation. At one point was centred on the theme of money. It
in his routine he literaliy ran through the didn't work. Fred Kaps told me he had a f fre Necessar5r Steights
audience pulling coins from everywhere. similar experience.
Combine that with a mixture of blarney In recent years I have seen several TheRightHand
and a wonderful Irish charm and you had young men present really amazing acts
a performance to be remembered. on the money theme with some really The T. Nelson Doums -PaIm".
spectacular effects, and at the end of it all, The sleight ofhand involved in a per-
AMoneyAct? you can remember that the act consisted formance of the Miser's Dream is really
When, and if, you ever become proficient of lots of things happeningwith money, quite minimal, if you compare it with
in the performance of the Miser's Dream, but no more. I think that maybe, after the the skill involved in some other forms of
you may get delusions of grandeur and event, you get the feeling that you haven't sleight of hand magic.
decide to expand it into a full-blown actually been watching a magic act. Study the illustrations.
money act. My advice in this day and age If you think back to two famous money A number of coins are held in the
is-forget it. acts, T. Nelson Downs and Cortini, both crotch of the thumb (Downs Palm) (Fig.
It is difficult to
say why this type of act of them included other material in their z). If the hand is held with the palm
doesn't quite come across, but it doesn't. acts. Cortini used a spectacular finale, in towards the spectators the coins will not
I tried it, Fred Kaps tried it, and Keith which several coin buckets overflowed be visible from the front (Fig. 3). Ifyou
Clark thought about it very seriously. with coins and a back cloth was covered are performingwith some of the audience

tttg N4ISrn's DREaM t4S

 \

The Glassic PaIm

l One item which always worries magicians
when they first attempt to practice the
Miser's Dream is the method of hanging
on to the single coin in the right band.
Well, there are several different methods
for doingjust that and you have to use
whichever method is right for the occa-
.4 sion. Here are a few of them.
I
Dispiay the coin at your finger tips and
as the hand is turned palm downwards
around you it is a simple matter to con- To produce the coins singly from this to apparently throw or drop the coin into
ceai the coins from a side view by placing position, curl the first two fingers inwards the bucket the two middle fingers press
the tip of the middle finger against the tip towards the crotch of the thumb. The the coin up into the classic palm position
of the thumb (Fig.+). middle flnger is placed under the bottom (Fig. B). The hand opens out with the
The interesting point about this "palm" coin and pulls it out by applying a slight fingers apart as it reaches a positionjust
is that the production of the coins can be upwards pressure (Fig.S). Once the coin above the bucket. Ifthe coin in the left
viewed from any angle. It doesn't mat- is about halfiray clear of the stack of hand is released simultaneously with this
ter whether the spectators are sitting in coins, the forefinger can assist by clipping action, the illusion is perfect.
front, behind, or alongside you. It can be the coin between the forefinger and flrst Ifyou go down into the audience to
done with the palm of the hand facing an finger and pulling it completely clear of collect coins from their ears, chins, etc.,
audience in front ofyou. To get the coins the stack (Fig. 6). this is almost the only method which is
into this position single-handed is quite Once you have reached this position, practical
a simple matter. Hold the coins in the the first two fingers straighten out a little, There are no angle problems.
finger palm position. The thumbnail is the thumbnail is placed under the coin,
placed down the side of the stack of coins and the thumb levers the coin into an up- TheThumbPalm
and tips them up. The fingers now curl right position (fig.Z). The coin can now If the audience is more or less in front of
inwards and at the same time the thumb be held and displayed between the thumb you the thumb palm is another alterna-
is stretched downwards and the fingers and first flnger. tive. Display the coin by clipping it be-
force the stack ofcoins up into the crotch The same actions are repeated for the tween the flrst and second fingers at the
of the thumb. remainder of the coins. tips of the fingers and as you apparently

t46 rnr lvrrsrn's onseM

place the coin into the bucket those same
two fingers are curled inwards and the
coin is gripped in the thumb palm (Fig. 9).
All the fingers are now straightened out as
the left hand releases a coin.

ThehillBaclr
Display the coin between the first two
fingers and the tip of the right thumb
(Fig. ro). The hand is palm upwards.
Turn the hand over so that it is now palm
down and as you do so, the right thumb TheBachClip
pulls the coin back behind all four fingers This is a variation of the back palm. To
(Fig. u). At that moment, the right hand perform this move, which is only suitable
should be just above the bucket. Again, for stage or platform work, you stand with
the left hand releases a coin to coincide your Ieft side to the audience.
with this action. The coin is held out at arms length and
displayed by being clipped between the
The Dnop Plus Fingen Palm first and second fingertips ofthe right
There isn't a sleight or secret action in- The hand should be heldjust above the hand (Fig. t3).
volved with this one. It is easier described bucket at that moment. Although the grip The hand is brought down quickly as
as physical acting. in which the coin is held is actually the ifto throw the coin into the bucket and
Produce a coin from the air with the finger palm, it is the tipping or dropping during this movement the two fingers
right hand. Now toss it up into the air, action which makes this effective. Don't holding the coin are curled inwards and
perhaps twelve inches or so. As it falls you turn the hand over so that it is palm the right thumb pushes the coin through
catch it on your right fingers. The right downwards. Just hold the hand with the the two fingers so that it finishes up still
hand now turns so that the palm is facing coin lying on the fingers, back ofthe hand clipped between the first and second
your body and apparently tips the coin to the floor and tum the hand up so that fingers but sticking out from the back
into the bucket. the back of the hand is towards the audi- ofthe hand (Figs. 14 and t5). The left
In fact the right fingers contract a little ence (Fig. rz). The effect is that the coin hand releases one coin into the bucket to
and retain the coin in the right hand. drops from the hand into the bucket. coincide with the action. The right hand

tttE tutsen's onet&r 147

 is opened out at that moment so that it is when they try it for the first time, try to Once you are down to the last coin,
seen to be apparently empty. push the coins down into the bucket. This the coin is produced as before, but as
To reproduce the coin from this posi- is quite wrong. The coins are actually re- the right hand approaches the bucket, it
tion reach down behind the trouser leg Ieased one at a time and allowed to drop makes a dropping motion as if to drop the
and by curling the two fingers inwards into the bucket. coin into the bucket. At that very sec-
towards the palm the thumb can regain a Ifthe coins are spread properly against ond the right thumb pulls the coin back
grip on the coin. the inside wall of the bucket, you will find behind the right fingers, and at exactly the
that it is possible to 'walk'your fingers up same moment the left hand releases one
TheLeftHand the stack of coins and release them one at of the coins allowing it to drop into the
The left hand holds a stack ofcoins in the a time. bucket.
position shown in the Fig. 16. Note that Just imagine that, spread as they are, The effect is that the coin in the right
the coins are tipped forward towards the they are a flight of stairs; your Ieft fingers hand has been dropped into the bucket.
tips of the fingers. This is very imponant. talk'up the coins and, as each'step'is The illusion is perfect. The audience sees
If they were tipped in the opposite direc- taken, the previous one is released. a coin in the right hand, it apparently
tion you would be in all kinds of trouble Ifyou analyse both the position ofthe drops the coin into the bucket, and as
(Fig. r7-the wrong way!). coins, and the action of the left fingers, it does so, the audience hears the coin
This stack of coins is held in the Ieft they are actually'walking' down the stairs land in the bucket. It is a sort of audible
hand which is the same hand which will although the fingers are moving in an misdirection. Not only do they see the
be holding the bucket (Fig. t8). An easy upwards direction. coin being dropped into the bucket, but
method to insure that the coins will be in theyhear it arrive. The right hand con-
the right position can be seen from the fire Basic Routlne tinues to produce the same coin over and
illustrations. Now we come to the actions involved in over again, and each time it is apparently
Hold the coins in the left hand, with the actual performance ofthe effect. At dropped into the bucket, the left hand
the whole stack resting on the left fingers. this moment the left hand is holding the releases one coin until the coins in the
The Ieft fingers are lowered into the bucket with a number of coins concealed left hand are exhausted.
bucket with the thumb on the outside of in the left hand. Perhaps six coins are held It is important in the initial production
the bucket (Fig. t9). The Ieft fingers now in the thumb crotch of the right hand. of the coins held in the right hand that the
straighten out and press the coins against The right hand reaches out to your audience's attention is drawn to the fact
the inside wall of the bucket (Fig. zo). right, and apparently produces a coin that the coins really are being dropped
The thumb presses against the outside from thin air. The hand is brought back in into the bucket. Don't produce them too
ofthe bucket and you can now pick up the front of the body, about chest high. The quickly and, as each one is dropped into
bucket and the coins are ready in position left hand holding the bucket is brought to the bucket, look at it as it falls from the
(Fig. zt). The coins can't be seen from a position in front ofthe body, below the hand.
the outside and anyone getting a short coin. The right hand drops the coin into Take your time about it. Make an oc-
glimpse inside the bucket will only see the the bucket. casional remark about the coins. Once
fingers ofthe left hand. The coins are con- The right hand continues to reach out the supply of coins in the right hand is
cealed from view by the left fingers. in all directions producing the coins one exhausted and you are down to one coin,
In this position the Ieft hand can turn at a time from the crotch of the right you change your tactics. You no longer
the bucket upside down displaying the hand. This is continued until only one wish to draw attention to the coins drop-
fact that there is nothing inside it. coin remains in the right hand. Each coin, ping into the bucket, because from now
There is a slight knack to dropping the as it is produced, is dropped into the on you will be releasing coins from the
coins from the Ieft hand. Most people, bucket. Ieft hand.

r48 rne Mrsnn's oRservl

 At this point, when you produce a coin, make yourself. It was designed by Geof- holder to your jacket or coat. Always pin it
look at it, but as you apparently drop it frey Buckingham. It consists of a small to your body, your pants or waistcoat. The
into the bucket you should either be look- black bag made of cloth. There is a safety reason for this is that when it is pinned to
ing at the audience, or looking around for pin at the closed end ofthe bag. The open your body, it will always be in exactly the
another coin. Another ploy is to produce end ofthe bag hangs downwards and is same position. You know exactly where
a coin from the air, show it, but as you kept closed, once it is loaded with coins it is at all times. If it is pinned to your
do so, your eyes are looking around for by means of a bulldog clip. A short length jacket, it is possible that you may have to
another coin. Having apparently spotted of elastic is attached to the clip and the search around for it because your jacket
one in mid-air, you apparently, and casu- other end of the elastic is fixed to the moves around and alters its position on
ally, toss the coin you are holding into the closed end of the bag (Fig. z3). When the your body. When your hand drops to
bucket in order to reach for the next one. get hold of the coins it must get them
What we have described so far are first time without fumbling. Ary fiddling
the basic actions of the Miser's Dream. around and searching for the coins will be
Everything else which follows is based on spotted by an audience and be disastrous
this foundation.
The problem now is that the left hand $@ for the act.

no longer holds coins and there is only

one coin Ieft in the right hand, so where o In Lieu of the Coin Holder
There are several other methods of secur-
ing extra coins without the use ofbody
do we go from here?
The answer is that we must get some ffi steals. A.ll of them have been used by the
more coins from somewhere. writer at various times over the years.
The problem is, where? There are many The first one is ideal for a continuous
answers to that question, which brings us "steal" throughout the act and has been
to coin holders. used extensively by almost everyone who
has ever performed the Miser's Dream.
GoinHoldem It is very simple. You have been drop-
A coin holder is a device to hold coins ping coins from the left hand into the
concealed about your person. bucket. The bucket is held in the left
At a touch the coins are released from hand. Tip the bucket so that the mouth is
the holder into your hand, all of which is tilted towards your body. If you give it a
unknown to the audience. There are many 23 sharp shake, some of the coins will fly up-
different types of coin holders. Some are wards from the bottom ofthe bucket and
designed to hold a few coins, some to can be caught under the left fingers. With
hold a large stack. bag is loaded with coins and the clip is a little practice you will find that you can
A glance atFig. zz will show you several applied to the open end, the bag is pinned straighten them out under the left fingers
types. It is up to you to decide which are to your body, perhaps under the edge of and commence releasing them one at a
the most suitable for your purpose. Most your jacket. When you require the coins, time as previously.
of them are available from magic shops or you simply squeeze the clip, which opens If you experience some difficulty in get-
if you are handy with a soldering iron you and allows the coins to drop into the ting the coins into a suitable position in
can make them yourself. waiting fingers. The elastic pulls the clip the left hand there is anotherway. First,
In this writer's experience the most up out of the way. One important piece shake the coins up into the Ieft fingers,
useful one is one that you will have to of advice-don't, if possible, ever pin the but make sure there are still a few coins in

tge vtISeR's onrela 149

 ser's Dream, one really important aspect
is the "business" which can be obtained
from the actual production ofthe coins.
The effect lends itself to comedy of a type
which does not depend on the performer
being a funny man. There are many little
gags which can be performed to get
laughs, without resorting to funny lines.
Many of these gags may not appear
funny in cold print. They have to be
performed to be effective. Most of the
gags we are about to describe involve
spectators. Now, there are two basic ways
in which spectators can be used. The per-
former can actually go into the audience
or he can invite someone from the audi-
ence up on to the stage, platform or floor.
the bottom ofthe bucket. Once the coins apparently drops into the bucket. At this Most performers do both. They stan off
are under the left fingers, transfer the point you don't release a coin into the on the stage, move into the audience for a
bucket to the right hand, which gives the bucket from the left hand. Look into the minute or two and, on the wayback to the
bucket a few shakes, rattling the coins. bucket and again look up in the air as if stage, they collect a spectator and finish
During this action the left hand drops to the coin is still there. Adopt a fed-up look the routine onstage.
your side and straightens the coins out on your face, lean backwards a little, place With regard to the choice of specta-
in readiness for the Ieft hand to take the all your weight on one heel, and place tor, there is no doubt that a boy is best. If
bucket with the coins already in position your right hand in your pocket. Look up there are no boys to choose from a man
for "dropping". and say sharply, "Get down here". Again is the next best thing. Pretty little girls or
Another excellent ruse enabling you your eyes follow the downward path of a nice looking young ladies may look good
to replenish your supply of coins is as coin but this time you actually release one but they don't lend themselves to what is
follows: Assuming that you are catching from the left fingers into the bucket. The required for an entertaining presentation
coins from the air, you suddenly stop, right hand is removed from the pocket, of the Miser's Dream. You cannot, with
look up in the air, point upwards with the having picked up some coins, and points ease, reach into the pockets oflittle girls
right forefinger and say, "There's one up the forefinger into the bucket as you say, or well-endowed young ladies, without
there". Give a short sharp whistle. Your "Stay there". raising at least one or two eyebrows.
eyes now follow the path of an imaginary Ifyour table is behind you, turn to your With a nine or ten year-old boy on
coin dropping from above down into the right and with the left hand holding the stage, none ofthese problems arise. You
bucket, where the left fingers release one bucket, reach out with the left hand and can tell him to stand up straight, hold his
coln. drop a coin from the left fingers and at head up, keep his feet together, his hands
Look into the bucket and reach in and the same time the right hand picks up a by his sides, stop laughing, not to look so
pick out one coin. Look at it, apparently load ofcoins from the tabletop. There miserable. You can place your fingertips
bite on it and say, "That's a real one", and is no need to have them hidden behind under his chin and lift his head up if he
toss it back into the bucket. Unknown something. They are just sitting out there tends to look at his feet. You can actually
to the spectators, when you reach into in the open. Don't worry no one will ever push him around a little, and provided
the bucket to pick out one coin, you grab notice them. he reacts favourably, capitalize onthose
perhaps five or six coins in the right hand. You can use a table-type stand with a reactions.
After tossing the visible coin back into the ring at the top instead of a tabletop. Now let's get down to some of the little
bucket the right hand can now continue The bucket sits in the ring until re- gags and bits of "business" which make
to produce coins from the air. quired (Fig. z4). On the top of the stand the Miser's Dream an entertaining as well
Another related method of obtaining there is a stack of coins. All the coins have as a magical effect. They are not listed in
extra coins is to perform a similar action a hole drilled in them and there is a spike any particular order.
of a coin dropping from nowhere. Instead or nail attached to the top ofthe stand If a spectator is wearing or carrying a
ofpicking the coin from the bucket and (Fig. z5). When the coins are in position hat, take it from him and tip the mouth
tossing it back in, simply comment on theywill look as if they are part of the ofthe hat over on top ofthe bucket as
the fact that it is a real one. "I'11 have that stand. Even at close quarters they will you release a coin from the left hand. It
one", you say as you place the coin in your neverbe seen. Theycanbe pickedup at will look as if you have tipped a coin from
pocket, and as the hand is brought from almost any time in the action of lifting the inside the hat.
the pocket it picks up a few more coins. stand out ofthe way. You can pick up plates, saucers, cups,
Still another similar method is to ap- or glasses and apparently tip coins from
parently spot a coin in mid-air as before, Perlonming -Busfutess" them into the bucket. In the case of cups
whistle, and again your eyes follow it as it For most general performances of the Mi- or similar opaque containers, make sure

15o rnE MrsER's Dneetr

they are empty.As you move around as ifthe coin
had penetrated the bottom need to palm them. Just hold them back.
quicklyyou can very easily tip half a cup ofthe bucket. The same action can be As you continue to collect coins, the spec-
ofcoffee into the bucket. performed by apparently making the coin tators can actually see some of the coins
Coins can be poured from newspapers penetrate the side of the bucket. drop into the bucket.
or magazines, programmes, and leaflets. The right hand produces a coin from A good example of the above is when
Simply pick them up, thumb on top and the air. The coin is displayed, then Thumb you pick up a plate. Ifyou have a coin in
fingers underneath, and by pressing the Palmed as it is apparently thrown up into the right hand, pick the plate up with the
thumb down firmlyyou can create a sort the air. Your eyes follow the apparent fingers on top and the thumb underneath.
of chute down which the coin or coins track ofthe coin up into the air and down The right hand turns over and as it does
apParently travel. again into the bucket where the left hand so the coin is released from the right hand
Place your fingertips on the top of releases one coin. and drops into the bucket. In this instance
someone's head and apparently brush a A few moments later, but not immedi- the plate should be held about rwelve
coin or two offtheir head into the bucket. ately after the last move, you repeat the inches above the bucket. The same rule
Lift a pocket handkerchieffrom a gentle- same actions, but this time when the eyes should be applied to saucers, papers, etc.
man's breast pocket, give it a shake over reach the bucket, nothing happens. There Ifyou have a spectator up to assist you,
the bucket and a coin drops out. The same is no sound ofa coin arriving. You look hold the bucket against his tummy and
applies to a gentleman's necktie. Lift up p:uzzled. Look up in the air as ifyou are ask him to nod his head. When he does so,
the tie four or five inches from the bot- looking for the coin and, as you look up, a coin is heard to arrive in the bucket.
tom and drop the end ofthe tie into the a coin is dropped from the left hand into Now ask him to lean over sideways
bucket and drop one coin. the bucket. You now look at the bucket so that his head is horizontal. Place the
Hold the bucket up to someone's face in amazement. In following the appar- bucket under his ear, the one nearest the
and ask them to cough and when they do ent track of coins through the air, it is floor. Give his other ear a tap and a coin is
so, the audience hear a coin land in the very important that not only do the eyes heard to drop into the bucket.
bucket. follow the movement of the coin, but the Ifyou have a boy up to assist you, get
Ifyou have a boy up to assist you and head also. Ifyou look up, raise the head. If hold of as many coins as you can in the
you are producing coins from his nose, you look down, lower the head. right hand. Place the bucket against his
ears, etc., reach into his pocket and ap- At a children's party some of them will tummy. The right hand takes hold of his
parently produce a coin and drop it into no doubt be wearing parry hats. If the nose (gently) and a long shower of coins
the bucket. As you do this whisper to him, hat has an elastic band under their chin, appears to be dropping from his nose into
"Put your hand in my pocket". Ifyou have forget it. The time and trouble involved the bucket.
one or two coins in your pocket he will in getting the hat offwill slow down the Another similar gag is to classic palm
naturally bring them out. Look at him action. Occasionally you will flnd a child three or four coins in the right hand. As
in amazement. Nod towards the bucket with the elastic around the back of the before, place the bucket against his tum-
and he will drop them in. Most times you head. By lifting the hat offthe child's head my. Again take hold ofhis nose and one
will find that the boywill drop them into towards the back of the head, it will slip coin only apparently drops from his nose
the bucket without your having to nod. If offeasily. Tip the hat over the bucket with into the bucket. Look into the bucket,
this happens, don't forget to react with a the right hand as the left hand releases a Iook at the audience in amazement, look
surprised look. coin into the bucket. back at the boy and repeat the action two
As you move around among spectators, Ask a spectator to hold his hand out or three times each time with a look of
you will find that occasionally someone palm upwards. When he does so, tell him disbelief on your face.
will accidentally cough or sneeze. If that to close it, now instruct him to turn the Fred Robinson gave me a real gem of
happens, release a coin from the left hand hand over, and place it above the bucket. a gag in a similar vein. Hold the bucket
into the bucket. You have to be quick, Now ask him to open his hand and when at the boys chin level. Tweak his nose
and if your timing is good it will get a big he does so release a coin into the bucket gently and as you do so, drop a coin from
laugh, especially if you look down into the from the left hand. the left hand into the bucket. At the same
bucket, then up at the spectator and down Point to a spectator in the audience time, say to the boy in a whisper, "Pinch
into the bucket again, in amazement. and ask him to make a grab in the air. my nose". The boywill reach up and
Coins can be produced from spectator's When he does so, ask him to throw it tweak your nose and, as he does so, you
ears, under their chins, from inside their into the bucket. When he performs the drop another coin into the bucket from
jackets, the backs of their heads. throwing action your eyes follow the coin the left hand. Again you must look at the
With the bucket in your left hand, through the air until it apparently lands in audience in amazement. Make sure that at
the right hand reaches into the air and the bucket. that moment you are holding the bucket
produces a coin. The right hand displays It is good business as you move around at about your own chin level.
the coin. The left hand raises the bucket collecting coins from here, there and With a spectator on stage, offer to
and the right hand taps the coin on the everywhere to occasionally reach into the show him how to do it. Instruct him to
bottom of the bucket; then, with a throw- bucket with the right hand, grab a handful show the front (palm) of his hand to the
ing motion, the right hand Thumb-Palms of coins, lift them out and pour them back audience. Now ask him to show the back
the coin and at the same time the left into the bucket. In doing this, hold back ofthe hand. Now the front again. Tell
hand releases a coin inside the bucket. It's a few coins in the right hand. There is no him to make a grab in the air and put it

rltr Mtssn's onpel\il 151

in the bucket. When he apparently drops
the coin into the bucket nothing happens.
There is no sound ofa coin. Explain to
him that he must have done it wrong and
offer to show him. You now show the
back ofyour hand, the front ofyour hand,
you make a grab in the air and drop a coin
into the bucket. The coin the spectators
hear is actually dropped from the left
hand, which is holding the bucket. Ask the
spectator to repeat your actions of show-
ing the front and back ofthe hand, etc.,
and when he does so the audience hear
the coin land in the bucket this time. A
look of elation comes over your face and
you turn to the spectator and shake his
hand and invite the audience to give him a
round ofapplause. Simply absorb the general effect. Quite hand. Now look up in the air and say, "It
Produce a coin from the air. Appar- often, bywatching other performers you must be raining".
ently place it on top ofyour head, actually can find out what not to do. Hunch your shoulders up and say, "Did
retaining it in the right hand. Give your One last piece of advice. Once you you get the money, mummy?" (This is a
head a nod towards the bucket and the have got the hang ofthe effect and think reference to a TV ad in England.)
audience hear a coin land in the bucket. you can understandjust what is required,
A similar idea is to apparently place a don't wait around. Don't keep practic- The Chanln Cotn Pnoduetton
coin in your mouth. Give a blow towards ing for months on end. Go out and do This is an offbeat coin production which
the bucket and again they hear it land in it. Don't worry about doing a full blown can be included in any Miser's Dream
the bucket. By now, you probably have Miser's Dream. Keep it short. The real routine and is the creation ofthe late Jack
enough ideas to get you started. Ifyou beauty ofthe effect is that you can make Chanin of Philadelphia, USA.
analyse the effect from a spectator's point it as long or as short as you wish, without The real beauty of this method of
of view, it should be as follows. really detracting from the effect itself. producing coins is that it is different
from almost any other. It can be inserted
The Efiect Patten anywhere into the routine, the beginning,
You pick up the bucket in the left hand. The whole presentation of the Miser's the centre, or at the end, and is capable of
The right hand reaches into the air and Dream can be enhanced by the insertion variation.
starts to produce coins from the air. As of the odd line delivered at the right mo- Let's start with the basic effect. The
each coin is produced it is displayed and ment. They are not jokes, as such-simply performer picks up a handkerchiefand,
openly dropped into the bucket. The audi casual lines thrown in at the appropriate holding it by two adjacent corners, he
ence can actually see the coins dropping moment. shows it on both sides. The handkerchief
into the bucket from the right hand. The following are a few which may help is now draped over the left hand so that it
These actions should be slow and give you the general idea. None ofthem completely covers the hand and is hang-
deliberate. are new. ing down all around it.
You next move into the audience and "They say money talks. All it ever says The right hand takes hold ofthe centre
start collecting coins from all over the to me is goodbye". "Look at this one. ofthe handkerchiefand pulls it upwards,
place. After a minute or two, you retrun to zor5. Someone must be forging ahead". offthe left hand and at the same time the
the stage taking a small boy with you. You "This is a brand new one. You can still right hand turns over so that the handker-
now start producing coins from the boy's smell the mint". "I offered to show the chiefis now draped over the right hand.
nose, ears, pockets, etc. income tax man how to do this. He said, At that moment, the spectators see a
Eventually, you dismiss the boy, reach no thanks. You make'em, I'll take'em". coin in the centre ofthe handkerchief
into the air and produce one last handful "I had a telegram from the Prime which is being held in an upright posi-
ofcoins and shower them into the bucket. Minister yesterday. It said,' help, we need tion by the fingers and thumb ofthe right
It is not a difficult effect to watch. you"'. hand, through the handkerchief.
There is nothing complicated about it. "You notice that I can make money The left hand takes this coin from
Unless you intend to present a mainly easily. I was asked why I don't make it the right hand and places it into the left
manipulative type routine, remember the disappear. I don't have to. Mywife does pocket. The left hand now takes hold of
golden rule with the Miser's Dream: Make that". "She knows more ways of spending the handkerchief at the centre and repeats
itfunny. money than I know of making it". the action ofthe right hand, turning over
If possible, try to catch the acts of (Sing) "Every time it rains it rains, pen- and allowing the handkerchief to drape
performers who use the Miser's Dream nies from heaven". Hold bucket at anns down around the left hand. Another coin
in their routine. Don't steal their ideas. length and release one coin from the left is now seen to be held in the left fingers

a52 TttE MrsER's DREAM

which are, as before gripping the coin any need to apparently place them in your
through the handkerchief. The right hand pockets.
takes this coin from the left fingers and Simply pick the coins offthe handker-
places it in the right pocket. chiefas they appear and drop them into
The effect can now be repeated as your bucket, which can be sitting on your
often as you wish. Both hands alternately table at that moment.
turning the handkerchief over and a coin If you decide to use this method to
appears each time to be deposited in the open your routine then it is obvious that
pocket. you would start offby producing the
The method used in this production coins and apparently placing them in your
is extremely simple. You have two coins pockets. Once you have picked up the
only, one in each hand. The handkerchief extra coins, you can start dropping them
is displayed between the hands. It is into the bucket.
now draped over the left hand. The left After you have dropped a few into the
hand pushes the coin upwards under the bucket, you can discard the handkerchief
handkerchief, so that the right first finger and nowbe in a position where you have
and thumb can take hold ofit through the a few coins in each hand, plus a few in the
thickness ofthe handkerchief (Fig. z6). bucket. Pick up the bucket in the left hand
The right hand is now turned over and and you are now all set to commence the
as the handkerchief drapes down around Miser's Dream.
the right hand the coin is exposed to view
(Fig.z). Additional Comment
The left hand reaches up and takes the I hope you will realize that this chapter
coin from the right hand and apparently is not intended to be enryclopaedic. It
places it into the left pocket. In fact, the is simply one man's experience with one
coin is retained in the Finger Palm. effect. Much has been written about the
During this action ofplacing the coin Miser's Dream and I would suggest that
into the left pocket, the right hand pushes you read as much as possible about all
the coin it is holding up under the hand- the different methods available to you in
kerchief. The left hand is brought from other books.
the pocket and immediately takes hold Let's get back to the effect itself. Re-
ofthe coin in the right hand through the member this. You are creating the illusion
handkerchief. The Ieft hand turns over to of producing moneyfrom nowhere and
show this coin. everywhere. That is the effect. Stick to it.
The right hand takes the coin from the
Ieft hand and apparently places it into
the right pocket, but as before the coin is
retained in the Finger Palm.
From now on the actions are repeated
as often as you wish creating the effect of
a continuous production of coins from
the handkerchief.

Vanlatlon onthe Chanin Tlreme THE ACT THAT IS DIFFERENT

Each time you are about to place the coin
in your pocket, it can be seen that the It's Novel lt's Visual
hand is holding one coin only. After pro-
ducing a few coins like this, you can actu- SUITABLE FOR STAGE
ally pick some more coins up from your OR
pocket in the action of placing the single CABARET PRESENTATION
coin there. This can be done with both
hands, which means that at one point you ILL COMMUNICAT'ONs TO -
will find yourself producing coins with
several coins in each hand.
Don't, at this point, be tempted to start
producing more than one coin at a time.
A much better idea is available. Once you
have reached the stage where you have a
few coins in each hand, there is no longer

rsr rrrsER's DREAM r53

You hanre pnobabfy read many times .NJ
that, 'Your opening effect is the most
important effect in your act". It could be
\si
true, but I doubt it. You have probably '
also read, "A good quick opening effect
will arrest an audience's attention." This
could also be true, but again I doubt it.
Cr\,hQ

c'qt) >q
a
I have never been a believer in the
"good, quick as a flash, opening effect".
An audience should be given time to look scribed follows those rules. It gives an man stands to attention and salutes, he is
at a performer, study his wardrobe, and audience plenty of time to look at you, probably a senriceman. If he holds up his
ifhe does a talking act they should be hear your voice, and above all it contains hand like this and points the other one
allowed to hear his voice before he begins the two ingredients which are essential he is probably a police officer. But if he
to display his talents. This is not a hard to all magical mixtures. It is visual and does this (clap your hands together and
and fast rule, but in most instances it surprising. produce flowers) he is a magician".
holds good.
In short, it is this writer's belief that Patten Metbod
your entrance is more important than "It has often been said that it is possible The bouquet is concealed in the left
your opening effect. to tell a person's occupation from the sleeve and produced at the appropriate
The opening effect about to be de- actions of his hands. For instance, if a moment.

155
Befone we eommelrGe with this item I that there is a glassin your right hand. tion it is out of sight behind your jacket,
must point out that over the years several You hold the jacket, which is almost in- which is unbuttoned and hanging loose,
people have told me that David Ginn, the side out, with the left hand, and the right covering the glass. You ask to borrow a
excellent U.S. children's performer, has hand is lifted upwards to draw the glass spectator's jacket, and hold the jacket by
been doing something exactly the same. out of the sleeve. This action will also the shoulders with the back of the jacket
If David reads this, all I can say is that I turn the sleeve inside out, and as the right facing the spectators. You release the
hope I was doing it first, but if not, I hope hand eventually emerges the glass comes right hand's hold on the jacket and im-
he will forgive me for adopting his idea. I into view. mediately plunge the right hand into the
think that maybe I have a fewwrinkles on That's it, but having done this for many right sleeve, which will be on your left.
this effect which are original. years, I have made a few discoveries. For Pull the jacket on to your right arm with
When I first did it I used an empty instance, you don't have to load the glass the left hand. The right hand is lowered
glass, sometimes a bottle, but it didn't in the back pocket to perform the effect. as the left hand drags the shoulder it is
take long to realise I could do it with Ifyou are in a bar or restaurant, just look holding over to the front, hidingyour
liquid in the glass, which comes from for a glass that is sitting near the edge of right hand and the sleeve from view for
another idea I had and is described else- a table. Ifyou stand with your back to the just a moment, during which your right
where in this book. The best glass to use table, just start to remove your jacket and hand lifts the glass from your waistband.
is a tall straight sided glass, which is half pick up the glass as if it were in your back Remember, all of this is hidden behind the
full of liquid. The preparation is simple. pocket. I have done this perhaps dozens jacket. The right hand is brought upwards

dProduction
You just stick it in your back pocket, with oftimes, and have used it to produce any- producing the glass, turning the sleeve
half ofthe glass sticking up out ofthe thing that happened to be on the table - a inside out as before, and you still have a
pocket. It must not slip down until it is glass, a bottle, and once when someone glass of liquid in your back pocket for an
completely in the pocket, in which case was looking for an ash tray, I produced encore, using your own jacket,
you will have a struggle to lift it out. If the one with the comment that magicians For the record, what I started with
pocket is too deep, use something in the "keep everything up their sleeve". I took a was a switch of an Egg Bag in the sleeve
pocket (such as a crushed handkerchief) chance once with a shorr stubby lit candle which was a feature of Arnold de Biere's
to hold the glass a little higher. in acandlestick. It worked, although the performance, and I think I read it in a Will
You must be wearing a jacket, and candle went out, but there was smoke Goldston book.
you stand facing your audience or, in the trickling up from the wick so it was still I didn't use the same handling as
case of an impromptu performance, the effective. Don't dismiss this as just cutesy; described in the book. After having the
few spectators you may have. You start it is better than that, and is almost the ungimmicked Egg Bag examined, I would,
to remove your jacket by taking hold of perfect impromptu effect. And while we as an apparent spur of the moment after-
both lapels and you start to Iift the jacket are at it, just remember, if we go back to thought, remove myjacket to prove that
offyour shoulders with both hands, but the original, that you can produce any- nothing went up my sleeve. That's when
the right hand moves faster than the 1eft thing that will fit in your back pocket and the switch was made. The regular Egg Bag
hand, and drags the jacket all the way can be drawn through the sleeve. Beware was in the back pocket of my trousers on
offthe shoulder. At this point, your right of glasses which will fit in your back the right side. The ungimmicked one was
hand should be almost touching the glass pocket but are a tight fit in the sleeve, held in the right hand. In the action of
in your back pocket, and at that moment with your fingers and thumb around the removing the jacket, the regular (gim-
the left hand lifts the jacket off the left rim of the glass. Experience will glve you micked) bag was stolen from the back
shoulder and, as the left arm is straight- the confidence to look at a glass and know pocket with the right hand, and as the
ened out almost behind you, gravity will instantly whether it is going to work or jacket was freed from the left arm and
cause the jacket to fall down offthe Ieft not. swung round to the front, the right hand,
arm and swing around behind your body. Would you like to produce two glasses holding both bags, was drawn through
You then turn slightly to your right and of liquid? You can, with just a little change the right sleeve, which was turned inside
the right hand lifts the glass out of your of set up and presentation. You have one out in the action, and as the right hand
back pocket. Your Ieft hand reaches round glass in the back pocket as before, and a emerged from the sleeve it was seen to be
to help, apparently, to remove the jacket, second one tucked into the waist band of still holding the bag. The ungimmicked
but in fact uses the jacket to cover the fact your trousers on the left side. In this posi- one was left behind in the sleeve.
Thb is the routine I haw been performing Almost errcr5rone who has had a crack And my reason for saying this is because
almost all of my magical life. Apart from at this effect has come up with their own you don't have to. Ifyou have that kind of
maybe one patter line it is exactly as it has handling or routine, especially the climax. audience, the spectators will do it for you.
always been, from day one. The effect itself is I have seen more different climaxes to As you will see in what follows, I start
probably one ofthe strongest close-up effects this effect than any other. I have seen big the routine with one ball in view, and I
possible, and one of its great adttantages is balls, little balls, different coloured balls, refer to it as a ball, right at the beginning,
that you can make the effect as long or as cubes, little sponge animals, handker- because that is what it is, but I never use
short as youwish. By that I mean that, ac- chiefs, toys, eight balls, cigarette lighters, the word "ball" again. It is always, "How
cording to circumstances, you can leaue bits matchboxes, and the Lord alone knows many do I have here?" or, "How many
of the routine out, and I ofien do, without what else can be used as a pay-offto this are you holding?" or "I'm going to place
really fficting its impact on a spectator. The effect, which brings me to another point. nvo in your hand and one in my pocket".
other important factor in this effect is that This effect is almost unique in one Apart from that first instance, the word
some of it actually takes place in the specta- respect, especially in a close-up situation, "ball" or, more importantly, "balls", is
tor's hands. which is where it is mainly performed: the never used again. I have several good
use of the word "balls". In my time I have friends who perform the effect regularly
usedjust as many off-colour gags and who inform me that without the use of
remarks as the next guy, but I have always the expression "balls" the trick wouldn't
avoided them in close-up situations. This be the same. I disagree. Some of those
effect was almost invented to invite you same people also use a sponge "Ding
to use off-colour gags. My advice is: don't. Dong" as a climax. 'Nuff said.

158
 My good friend, Charles Relmolds from repeat at perhaps another table, ifthat's on the floor either byyou or, more often
New York, maintains the effect of multi- howyou work. There is no actual reset- that not, by a spectator. Nowyou are in
plication of sponge balls in a spectator's ting as such. Although I have, on many trouble, especially ifthe floor is carpeted
hands is probably the strongest part ofthe occasions, used a trouser pocket to hold in a dark colour.
routine. Because ofthis he states that that the sponge balls, I don't recommend it Ifyou are using light-coloured sponge
particular effect should be delayed, rather as a regular practice. No matter how well balls, and they haven't travelled too far,
than being demonstrated early on in the you do it, there is always a slight fumble you can usually spot them and retrieve
routine. He is probably correct, but I must getting in and out ofthe pocket. them quickly. With a dark colour you have
confess that I have been performing this One last point: the colour of the no chance. It is not a pretty sight to see a
routine so long that I am not about to sponge balls. In most instances, the magician grovelling about under a table
change. I would ceftainly recommend that colour doesn't really matter, but there are looking for something.
you think about it, very seriously, because occasions when it does, and I found it out This writer, after considerable experi-
I know in my heart that he's right, and I the hard way. Ifyou perform at dinners, ence, used to just alter the routine and
just don't want to admit it. banquets, restaurants, and the like, you leave the ball wherever it was. I still do
One small advantage to the routine may find that they are dimly lit; if they that, but I now carry extra sponge balls
which follows is the fact that at the com- have dark coloured table cloths, then to cover that exigenry, so that when I ap-
mencement of the performance all four brightly coloured sponge balls will be proach another table, I am back to basics.
balls are in the right hand jacket pocket, more visual than dark ones. Much more If you are working a lot of tables you will
and at the finish ofthe routine they are important, however, is what happens find that, about twenty minutes later,
all back in that same pocket, ready for a when one ofthem is accidentally dropped someone will approach you and tell you

MISCELLANEOUS 159
that he has 'Just found one ofyour balls
under my table". Smile, and say, "Thank
you". This has actually happened to me
several times over the years, so take heed
of the following advice.
If a spectator is holding several sponge
balls in their hand, and you want them
to open their hand, don'tjust say, "Open
ttWatch", you say.
your hand", because that is exactlywhat Requirements
theywill do and the sponge balls will Four sponge balls. Pick up the ball from the table with the
scatter all over the place. Make a point heparatlon left hand and display it (Fig. z). The right
of saying, "Now, very slowly, open your Place the four sponge balls in your right hand now apparently pulls the ball apart
hand". I once told a friend to do it this jacket pocket. (Fig. :), making two sponge balls (Fig.
way, and the first time he did it, he said, 4). To do this, the right hand, with a ball
"Now open your hand slowly'' and before The Routfne concealed in Finger Palm, approaches the
the lady heard the word "slowlf' she had Reach into your rightjacket pocket and left hand and takes the ball, pulling it to
opened her hand. Result? Grovelling on bring forth one sponge ball on view, but the right, and at the same time the left
the floor. in fact you have a second sponge ball con- fingertips grip the ball concealed in the
cealed in the right Finger Palm. As soon right fingers. As the hands are separated,
Pnofessional as you bring this ball out ofyour pocket, the spectators will see a ball in each hand.
in the right hand, transfer it to the left Fig. 3 gives an e>rposed view of the left
Sponge BaIl Routine
hand, and place it on the table. The right hand clipping the ball in the right hand.
hand, containing a ball, is now placed flat When the hands are separated there is a
Efrect on the table top concealing the ball, which ball in each hand.
The effect is now almost classic. Sponge will nowbe flattened out on the tabletop Ask a spectator to hold out both hands
balls are made to appear, multiply, and under the right palm Gig. 1). palm upwards on the tabletop, and place
vanish, with some of the effects happen- Draw attention to the ball on the table a ball on each ofthe spectator's hands
ing in the spectator's hand. and mention that it has a peculiar habit. (pig.S).Your right hand picks up the

t6o
 *^
V

ball from their left hand and apparently you actually place two balls in there. Re- The ball is held in the right hand by the
places it into your left hand. Actually it member, you have a ball in the right hand first finger and thumb only. They pinch a
is stolen out again. We will explain this which was stolen from your left hand. You piece ofthe ball near the outer circumfer-
move later. Fig. 6 shows the ball being simply squeeze the two balls together as ence rather than gripping the whole ball.
placed apparently into the left hand. Fig. 7 one and place them into the spectator's The ball is placed on the open left palm
is an exposed view showing the left hand right hand. and the right finger and thumb keep a
closed as if it held the ball-your right Place your left hand, which apparently flrm grip on it (Fig. tz). The left fingers
hand is still holding the ball. holds a ball, in front ofthe spectator's close over the ball as in Fig. t3. The right
Your right hand now reaches forward right hand. Open your left hand as in Fig. hand now moves back towards the wrist
and picks up the ball from the spectator's ro to show that the bali in your hand has as in Fig. r4 (exposed), taking the ball
right hand, lifts it up a few inches and vanished. Ask the spectator to slowly with it. The ball is sort of dragged out of
apparently places it back into the specta- open their hand and they will find they the closed left fingers. Note the posi-
tor's right hand. Figs. 7,8 and 9 show the have two sponge balls (Fig. tr). tion of the right second, third and fourth
complete action. Fig. 7 shows the ball fingers in Figs rz and r3. In Fig. rz they
being picked up offthe spectator's hand, The Vanish are spread wide apart. In Fig. r3 they are
and Fig. B shows it being placed into the We are going to interrupt the routine at closed up. As the ball is dragged out of
spectator's hand. Fig. 9 shows you helping this point to describe how you apparently the left hand, the right fingers cover it as
to close the spectator's hand. What the place a ball into the left hand, but secretly shown in Figs. r4 and r5.
illustrations don't show is that when you retain it in your right hand. The most important aspect of this
replace the ball in the spectator's hand Figs. rz, r3, r4, and 15 show the action. move is timing.

MIScELLANEoUS t6t
 You place the ball in your left hand
as you would normally. If your timing is
right, no one will see it come out again.

Now bach to l|re noutine.

The spectator has just opened the hand
and found there are two sponge balls
there. Remember? (Fig. tt.)

We are now going to explain the

counting sequence, where you count from
one to ten and the spectator counts with grip ball under it, Fig.5a. pocket. In fact, as soon as the right hand
you and during this counting sequence a Count "Suc". Apparently place ball into is in the pocket, you pick up another ball
series ofevents takes place. left hand, but secretly steal it out in the and the hand comes out with two sponge
Take both sponge balls from the spec- right hand, Fig. 6a. balls held in a closed fist. As soon as the
tator's hand and display them as in Fig. Cotnt"Seven". Pick up ball that was hand clears the pocket, the right hand
16. For the counting sequence we are now under the left hand and hold it in closed immediately picks up the remaining ball
going to use the illustrations numbered right fist, Fig.7a. on the table and places it into the left
from la to 9a. Covnt"Eight". Turn right hand over hand and at the same time adds the two
and place back down on table top, Fig. 8a. balls held in the right hand. Fig. r8 shows
As you count each number aloud, you Count "Ny'ze". Open left hand to show an exposed view ofthis. The effect is that
perform an action. empty, Fig.9a. you have placed one ball in your pocket
Cotrrt"One". Place left hand ball on Cottnt"Ten". Open right hand to show and one in your hand.
table, Fig. la. two sponge balls, Fig. toa. Ask the spectator, "How many sponge
Count "T1,ro". P1ace right hand ball on balls are in my hand?" No matter what
table, Fig. za. So ends the counting sequenoe. their answer, you open your hand and
Cotxrt"Three". Place left hand palm Remember, you still have two sponge balls show there are three sponge balls.
upward over left ball, Fig.3a. in your right pocket which the spectators Place the three sponge balls in a row on
Coutt"Fout''. Place right hand palm up are not aware of. Place the two balls on the table as in Fig. r9. You are now going
over right ball, Fig. 4a. the table as in Fig. 17. Pick up one ofthe to repeat, more or less, what you have just
Cowt"Fi1te". Ttrrn right hand over and balls and apparently place it in your right done. Pick up one ball in the right hand

t6z MrsCELLANEous
and place it in the right pocket and again, We are now about to bring the routine
as before you pick up another ball. to a climax. Place the three balls on the
The right hand is brought from the table. Pick up one ball in the right hand
pocket held in a closed fist, picks up a ball and place it in the right jacket pocket
from the table and places it into the left and leave it there. Pick up a second ball
hand adding the t'wo that are secretly held and apparently place it into the left hand,
in the right hand. There is still one ball on which closes around it - but secretly steal
the table. Pick up this ball and apparently it out again. The right hand now picks
place it into the right pocket but bring up the remaining ball from the table and
it out again, concealed in the hand, and places it into the right jacket pocket, leav-
place the hand flat, palm down, on the ing both sponge balls there.
table with the ball flattened under it. The effect is that you have placed one
The effect this time is that you placed ball in the pocket, one in the hand and
one in the pocket, one in the hand and an- one in the pocket. In fact, there is nothing
other in the pocket. Ask, "How many are in the left hand, and all four sponge balls
in my hand?" and again, no matter what are back in the right pocket.
their response, you open your hand to Ask the spectator to hold out their
show there are three sponge balls. Place right hand and ask them to tell you how
them in a row. many sponge balls there are in your hand.
There are now three sponge balls on Hold your left hand, which apparently
view on the table and a fourth ball is contains a sponge baIl, close to the hand
concealed under your right hand, which they hold out, as ifyou are going to place
is resting on the table (Fig. zo, exposed the contents ofyour hand into theirs. No
view). The left hand picks up two balls matter what their response, open your left
from the table (Fig. zr). You now ask a hand to show it is empty, and immedi-
spectator to hold out their hand. You are ately grasp their right hand in your right
going to place the rwo balls in your left hand in a handshake fashion, and shake it
hand into the spectator's hand. To do this, vigorouslywhile you thank them for their
the right hand reaches across and takes asslstance.
the two balls from the left hand, and plac-
es them into the spectator's hand, adding End oI Routine
the ball from under the right hand at the The sponge balls I use are two inches
same time (Figs. zz and z3). The spectator in diameter. If you are more comfort-
now has three balls in the hand. The right able with them smaller or larger, go right
hand picks up the remaining ball from the ahead and use them. There is no rule
table and places it into the right jacket about what size a sponge ball should be.
pocket and leaves it there.
You now ask, "How many sponge balls
are in your hand?" They will usually say
"TWo", but whatever they say, you ask
them to open their hand and they find
three balls.

763
Magicians shouldkneel down and offer up a The oniglnal Benson effect, was that wand concealed a ball.
prayer of thanks to Roy Bensonfor coming three Sponge Balls were vanished one at a Benson combined the two, in an ac-
up with this concept. Basically, it is a one cup time, and after each vanish each ball was tion that fitted the situation absolutely
and. balls effect but using a bowl wlich is, in shown to have appeared under the bowl, perfectly.
effect, a wide mouthed cup. The we of a bowl which had been placed mouth down on There is a magic wand and a sponge
enables you do afew things that are impos- the table, For a climax another, usually ball sitting on the table. The right hand
sible, or at leastawkwar$ with a traditional slightly larger, object was found under the picks up the wand and places it under the
cup from a Cups and Balls set. The Benson bowl. left armpit with half its Iength projecting
Bowl Routine has been detailed in more than What Benson did that was unusual was forward. The right hand relinquishes its
one book, and many well-known perform- to devise a handling that was so natural to hold on the wand and reaches forward to
ers have had a uack at it, and probably all the props as to be almost revolutionary. pick up the sponge ball which it apparent-
of them added there ownlittlewrinkles and He devised a method for the vanish which ly places into the left hand, but steals it
ttariations, which is what we all do, don't we? was unique. Most performers would place out again and moves back to take hold of
So why should I be differrnt? I have a couple a ball into the right hand, and open the the wand which is removed from the arm-
of wrinkles which I think I should inflict on hand to show that the ball had vanished. pit. The wand is now tapped against the
you. They might even pick up a wand and tap closed left hand and the hand is opened to
the hand with it before showing the ball show the ball has gone.
was no longer there. The classic reason The innovation here is the action ofthe
for using the wand in this way was to right hand moving back from the left hand
disguise the fact that the hand holding the to take hold of the wand. The distance is

164
only a matter of a few inches, and there fact, several different sequences can be
is no time for a spectator to realise that devised. We will explain this a little more,
anything untoward has happened. The but for now, let's get down to the routine
ball is apparently placed into the left hand which is quite short.
and that hand is tapped with the wand You will need the bowl, three sponge
to show the ball has gone. That is what it balls and some kind of load for the finale.
Iooks like, and that is magic. The whole The load and the three sponge balls are in
routine is described in Bruce Elliott's the right jacket pocket, the bowl is on the
Classic Secrets of Magic, and is well worrh table. You are going to vanish one sponge
studying. ball and make it reappear under the bowl.
The routine I have devised is a little Show the bowl to be empty and place it
different, although the effect is the same. acquired several others, and I can assure on the table, mouth upwards. Bring one
The reason the routine is different is you that, ifyou decide to use this idea, ball out of the pocket and apparently
because ofthe bowl used. I found an old you won't have too much trouble finding place it into the left hand but steal it out
brass bowl at a flea market, and in experi- a bowl of this qpe. again, and instantly the right hand, hold-
mentingwith it I made a discovery. The What this means is that you can ing the ball in a Finger Palm, reaches with
bowl itself is pretty normal, but it has a conceal a ball under the base ofthe bowl the fingers holding the ball into the bowl
circular base which lifts the bowl itself an when the bowi is sitting mouth upwards (Fig. z) and, gripping the ball against the
inch or so offthe table (two views in Fig. on the table. There is more than one way inside of the bowl, with the thumb on
r). Since purchasing that first bowl, I have of achieving this, and because of that the outside, turns the bowl mouth down,

165
effectively loading the ball under the bowl jacket pocket and bring forth a second time (Figs.9 and ro).
(Pie.:). ball, but you also have the third ball The visible ball is taken back into the
The left hand is now opened to show Finger Palmed in the right hand (Fig. 7 right hand for a moment (Fig. rr), and like
the ball has gone (Fig. 4), and the right exposed view). Transfer the visible ball to the first ball is apparently placed into the
hand lifts the bowl to show the ball un- the left hand (Fig. 8), raise it up a little to left hand, but stolen out again. The right
derneath (pig.S). Tum the bowl mouth display it and, as you do so, the right hand hand, holding the ball concealed, is placed
upwards and place it on the table. Pick up turns the bowl, with the first ball inside on top of the bowl, actually over the
the ball and drop it into the bowl (rig. 6). it, mouth down on the table, loading the recessed bottom ofthe bowl, and in fact,
Say, "I'll do it again". Reach into the right second ball under the bowl at the same placing the ball into the base of the bowl
(Figs. rz and r3). You say, 'lMatch", as flngers hold the now-concealed ball in place both balls into the right pocket (Fig.
you make a throwing motion with the left place, under the base (Fig. r5, exposed r7). As you do so you tell him that you are
hand towards the bowl, and at the same view). The left hand is lowered and the going to make the ball he chose jump back
time the right hand lifts the bowl to show bowl is placed on the table, with the ball under the bowl, and as you place the balls
there are two balls there. underneath the base. into the pocket, you grab the load in your
As soon as the right hand raises the The two balls are picked up and right hand as you say, "Look, I've done it",
bowl from the table it turns it mouth up dropped into the bowl (Fig. t6). Ask a and as you say that, the left hand lifts the
and passes it to the Ieft hand which takes spectator to point to one ofthe balls, and, bowl to show the ball under it (Fig. r8).
hold ofit at the base (Fig. t4). The left no matter which one he chooses, you The method of lifting the bowl at this

L6j
point is important. The left hand ap-
proaches the bowl palm up, first and
second fingers spread apart, and lifts the
bowl as one would lift a brandy glass. The
two fingers are above the base and below
the bowl (Fig. r9; note the Ieft fingers
should be between the base and the bowl
itself). In this position the bowl is lifted
offthe table and the hand is turned over,
turning the bowl upside down in mid-
air and placing it onto the right hand,
which is just emerging from the right before you actually start the effect.
pocket with the load (Fig. zo). The bowl One more idea for you to play with, and
is deposited onto the right hand which this one lends itselfto being used at the
places it on the table mouth down with commencement of the original Benson
the load under it. There is one ball Ieft on routine. In placing the bowl on the table,
the table. Pick the ball up and place it in mouth upwards, the right fingers conceal
your pocket (Fig. zr). Ask the spectators if a ball which is already in the base of the
they would be surprised if the ball jumped bowl. Three sponge balls are now brought
back under the bowl. No matter what forth and placed inside the bowl for all
their answer, lift the bowl to reveal the to see. The right hand takes hold ofthe
Ioad (Fig. zz).Endof routine. bowl, with the fingers inside the bowl,
That is how I've been doing it, but pinching one of the balls against the
there are other handlings which you may inside of the bowl, and the thumb outside.
find useful. For instance, if you have a With a forward action the bowl is turned
ball concealed in the right hand, there is mouth down on the table, and it is lifted
no good reason why you can't place the up again immediately, still mouth down,
base ofthe bowl into the right hand, and to show three balls on the table. The
replace the bowl on the table loading the bowl is now replaced on the table, mouth
ball almost exactly as you would in a Cups down, slightly to the side, with the ball
and Balls routine. that had been pinched by the right fingers
Still another way is to have the ball still under it.
concealed in the right hand which draws I hope what I have just written is
the bowl backwards, or sideways, loading understandable. The three balls that are
the ball in as the bowl moves. This is simi- seen on the table after the turnover are
lar to loading the pea in the Three Shell two balls from in the bowl, and the ball
Game. If you reverse the actions you can that was originally concealed under the
steal a ball from under the bowl by mov- base of the bow1. The move is a sort of
ing the bowl forward. Provided you had Han Ping Chien move, with the bowl and
secretly loaded a ball under the base of balls.
the bowl, this last action could enable you
to show the bowl and both hands empty
I thlnfi the first time I came across the published in one of the Ganson Close- into the waiting hand, with fingers curled
item I have named The Sleeve Dodge, up books. All ofthese routines used the inwards to receive it. I have always, for
was in a routine in one of George Blake's Sleeve Dodge, where something is secretly no particular reason, used the left sleeve,
manuscripts. dropped into the top ofthe sleeve, usually but if you feel more comfortable with the
I later saw Ken Brooke perform the under the pretext of placing something right sleeve, go for it.
same routine. Manyyears later, I saw into, or removing something from, the Indeed there is a case for using both
Niberco, of Holland, do a sort of torn and inside breast pocket ofthe jacket. sleeves, but at this moment I can't think
restored tissue paper, which was com- An object with a little weight is prefer- of one, but as I have used both sleeves for
bined with a multiplying eggs routine in able to a lighrweight one. As long as the other purposes, why not?
which the Sleeve Dodge was used. I also arm is kept in a bent position the object As I write this I have a recollection of
recall the same Niberco doing a Co- will remain in the sleeve. Once the hand Dai Vernon using both sleeves for a Six
lour Changing I(nife routine which was is dropped to the side the object will drop Card Repeat effect.

r69
 amc
At tlrls potnt I was going to describe a Let's get back to the Purse Frame idea. with whatever you produce. That type of
routine with the purse frame, and I will, The Purse Frame is probably one of the approach is great for platform or cabaret
but as I toil here in my little dark room greatest little gadgets ever dreamed up performance, but it usually loses out in
I realise that the Sleeve Dodge, which I by magicians for the entertainment of 1ay close-up.
mention above, is really a lot older than people, particularly in a close up situa- The Purse Frame can be used more
I indicated. There are several books that tion. than once in a performance, but if you do
were written towards the end of the It's funny, it's magical, and it's easy. this try to stay ahead ofyour audience and
Victorian era which described the produc- The Purse Frame has been featured by make it a surprise every time you use it.
tion of a founeen-inch Iong magic wand many well known magicians-Slydini, A.fter the first time, try to arrange things
from a small change purse, this, ofcourse, Albert Goshman, Jay Marshall, and last, so that the next time you already have the
used the sleeve dodge, plus a small change but maybe should be first, Johnny Paul. It object in your hand ready for production.
purse with a slit in it. As most of the is both good magic and good humour, This kind of situation doesn't happen by
descriptions were for platform acts, it It would be easy to sit down and accident; you have to plan it that way.
is unlikely that they dropped the wand make a list of al1 the things that can be The two things to aim for are a laugh or
down their sleeve during the actions that produced from a Purse Prame - coins a gasp of surprise - or both. When you get
preceded the effect, as is the case with dice, thimbles, etc., but just to produce both you are on to a winner. Stay with it
most close-up items in use today. How- something for the sake of producing is and don't ever change it.
ever, in the Nate Leipzig book by Ganson, not enough. You should now use the Most close-up performers have prob-
there is a routine with a change purse and object for what it was intended if possible. ably produced a few coins from a Purse
a cigar which is well worth looking at. Try to avoid verbal gags devised to fit in Frame at some time or other. I used to do

77O MISCELLANEOUS
it and, as a kicker, produce a large coin mere display of it will usually bring a
from the same purse. This was simply smile to the face of most people.
a case of loading the coins into the left The purse is held in one hand, opened,
hand in preparation for the production and the fingers ofthe other hand reach
from the Purse Frame then dropping the into the frame and produce a coin or
large coin down the sleeve. This turned coins. That's it. The situation is ludicrous
out to be so successful in performance and will be accepted by most spectators
that I decided to elaborate on the idea and with laughter.
turn it into a full-blown routine which The method couldn't be simpler. The
could be performed when travelling from purse frame and a coin or coins are in the
one group to another, and during which left pocket. The left hand reaches into
the hands could be shown clean through- the pocket, and Finger Palms the coins. are inserted into the frame and the coins
out. I am still not certain that this was The frame itself is taken by the fingertips are lifted out (Fig. 4) and dropped on to
the right thing to do for me, personally, and thumb and is brought forth from the the table top.
as a performer, but it does work, and very pocket (Pig. r). The right fingers now close the frame,
well. The right hand takes the frame from take it from the left hand and place it
the left hand and displays it (Fig. z). The on the table. Don't put it back into the
Goinhoduction right hand now replaces the frame into pocket. The spectators may, and usually
The purse frame is brought from the the left hand (Fig. 3) and opens it. The do, want to look at it. A follow up idea is
pocket and shown to the spectators. The thumb and forefinger ofthe right hand that if you have four coins finger palmed
just produce three of them, and after the
spectators have looked at the frame, take
it back, open it, and produce the fourth
coin.

Sponge Balts
Sponge balls are another favourite pro-
duction item from the purse frame. The
procedure is exactly the same as in the
coin production. The ball, or balls, are
again held in the Finger Palm ofthe left
hand as before and are produced in the
same manner.
The advantage that the balls have over
the coins is their size. Due to their nature,
they can be crushed up in the finger palm
but will expand immediately on produc-
tion. Two or three two-inch diameter
sponge balls from a small purse frame is
qulte a surprlse.

772 MISCELLANEOUS
 Don't straighten the arm or the large coin
The PatrickPage Purse Frame Routine will fall down the sleeve and land on the
floor.
The right hand now pats the outside of
the right jacket pocket, and reaches into
Befone rre sta.rt there is one point that Set Up that pocket as in Fig. 8.'Ahl Here it is',
must be made about the photographs. If The large coin is in the inside Ieft breast you say as you bring forth the purse frame
you look at them you will assume that pocket. The purse frame and the Chinese Display the frame as in Fig. 9. Now
the effect is being performed over a table coin are in the right jacket pocket. A few place the frame into the Ieft hand as Fig.
top. This is not so. It is actually a stand up other ordinary coins are in the left trouser ro, open it as in Fig. rr and reach in with
routine, and the reason we have taken the pocket. the forefinger and thumb ofthe right
pictures over a table top is to give them a You can commence the routine by say- hand to produce the coins as in Figs. rz
neutral background. ing something like, 'Here, let me show you and 13.
You will need a purse frame, a few something', and you start searching your Show the coins and drop them into the
ordinary coins, one Chinese coin and one pockets to find this something which you right jacket pocket and secretly pick up
large coin about three inches in diameter. wish to show them. You begin by reaching the Chinese coin in the finger palm and
The large coin I use is another Chinese into both trouser pockets with both hands hold it there as in Fig. 14. The right hand,
coin, but any large coin will do. Fig. 5 as if you were searching for something. holding the Chinese coin, is brought from
shows the props. The left hand secretly picks up three or the pocket and closes the Frame and
One piece of advice before we get down four coins in the Finger Palm, Fig. 6. places it on the open palm ofthe left hand
to the routine. You should practice pro- Once you have the coins in the left as Fig. r5 to displayit.
ducing coins from the frame with either hand, remove both hands from your The right hand now reaches over and
hand. In the routine which follows, the pockets. The right hand now reaches into picks up the frame and as this happens
purse frame is held in the left hand and the inside left breast pocket as ifyou are the Chinese coin is dropped onto the left
the right fingers reach in and produce the still searching. Once the right hand is in fingers, Fig. 16. As the right hand picks
coins. You should also practice holding the pocket, it picks up the large coin and up the frame, the left hand is turned over
the frame in the right hand and produce secretly drops it down the left sleeve from holding the coin in the left Finger Palm,
the coins with the left hand. There is a the armpit. Fig. r7. The frame is now placed back
reason for this which will be o<plained Fig. 7 shows an exposed view ofthis into the left hand as in Fig. 18. The right
later. happening. From this moment the left fingers open the frame and produce the
arm must be held in a bent position. Chinese coin.

MTSCELLANEOUS 773
 Drop the Chinese coin into the right right hand opens the frame, reaches in the purse ... look at that! Even Chinese people
jacket pocket. The right hand now closes and produces the large coin. So ends the go alltheway to LasVegas .

the frame. Now at this point both hands routrne.

are empty, but you still have the large coin Depending on the size ofyour large You know the funny thing about a Las
in the left sleeve. Make sure they can see coin, you may have to open the frame a Vegas purse? Whenthe money is inthe purse
that both hands are empty. little wider than normal to produce it. You you can't see it. lt's only when you open the
It is at this stage that you are explain- may also have to pull the coin through the purse and take the monE) out that you can
ing that it is only when you take the frame diagonally (Fig. zt). see it. So don't go to Las Vegas ... or if you do,
money out of the purse frame that it don't forget to buy a Las Vegas purse ... you'll
becomes visible. As you are saying this, The following is the actual patter I use need it."
the left arm is dropped to your side and for this routine.
the large coin drops down the sleeve into That's it. Short and sweet. Now let's
your waiting 1eft hand. "Look at that. lt's a Las Vegas purse. You get back to the problems. If you don't
Don't try to palm it. Just hold it with all go out there loaded andyou come back broke. have and inside breast pocket on the left
four fingers as Fig. :.9. But ifyou open the purse, you cdn always get side, just change everything over, to the
Fig. zo gives an exposed view ofhow more. Clner? Mind you, in Las Vegas, thqt opposite side. You will now be holding the
the coin is held.Remember, they have just need purses like this one. purse in the right hand and making the
seen that your left hand is empty. The productions with the left hand. Nowyou
right hand is displaying the frame. Both Eueryone loses their money, which is why know why it was suggested you practice
hands are now brought together. The they need purses like this one. You just open with both hands. Remember?
 Thc Burncd&Rcstorcd
BillinWallct
Tlrene is a little history to this effect In the October issue of The Gen After the envelope was burned (with,
which I would like to relate. I first started Magazine, Harry Stanley mentioned a I may add, a minimum of gags) and the
performing the Sigred Card in Wallet new effect performed by Alan Alan at one bill was apparently gone forever, I would
between 1954 and 1956. I can pinpoint of the Unique dealer demonstrations. retrieve the wallet from the table, open it
those dates precisely because that was It was a burned bill in wallet effect. It and, asking the lender ofthe bill to hold
the period I was pitching slum magic in wasn't advertised in the magazine, merely out his hand, I would start to count out
an arcade in London's O>dord Street. The mentioned. My guess is that he hadn't had five one-pound bills on to the spectators
concession was leased by Dick Chavel, time since the Southport convention to hand. Part way through the counting I
a magician I had met atHarry Stanley's draft an ad. would ask, "Is it okay to give you ones?
Unique Club, and he employed me on a It wasn't too long before every other What was it you gave me? A five? Just a
small wage plus commission basis. This magic store in the world was selling a minute".
arrangement didn't last long. He raised version of the bill in wallet-that's the At that point I would lift the ones from
my wages just a little and cut out the natural progression of a magic effect. his hand and stuffthem into my pocket,
commission, and I will leave you to make Over the years, I tried so many dif- not wasting time trying to get them back
your own conclusion as to why. ferent presentations ofthe effect that it into the wallet.
After two years there Dick opened a pains me just to think of it, but one thing I would now open the zip and remove
magic store further along Offord Street, I can say is that eventually I decided on the five pound bill from the wallet and
and after a short period he closed the the simplest and most direct presenta- at the same time try to open it out by
joint I was in and I moved into the other tion. In those days I borrowed a five inserting the thumb into the folds of the
store. I remained there for another two pound note, and there was a particular bill and spreading it slightly. As the right
years, which would be berween 1956 and reason for the choice of bill, which we will hand removed the bill from the wallet the
1958. By this time I was doing a lot of per- come to in a moment. Using a slit in the left hand replaced the wallet in the inside
forming in the evenings, mainly in bars, back ofthe envelope, I stole the bill out breast pocket. At that moment you are
workingmen's clubs, ex-seryicemen's and immediately reached into my pocket clean-just two hands and a bill, and that
clubs, kids'parties, whatever. The Signed to remove the wallet, during which the is when you spot the signature, and the
Card in Wallet was one of my staple ef- bill was loaded. rest you know.
fects, but when I started getting repeat I dropped the wallet on the table, with Unfortunatelywe don't have one
dates I had to drop it and replace it with words along the Iines of, "Don't worry pound bills any more, but there are some
something else, and the something else ifanything goes wrong, I have plenty of countries where this little bit of business
was the Signed and Borrowed Bill In money in here". can be used.
Wallet. At that time, I had seen borrowed
bills turn up in bill tubes, nests ofboxes,
loaves of bread, in a piece of rope, in a
borrowed cigarette, inside a candle and CAID
)x
Lord knows what else, but I had never
seen it turn up inside a wallet-until I did
WALLLT
ROUTINE
it. Because the Signed Card in Wallet was PLOTLSSIONAL MAGIC
so strong an effect, the bill routine was WITU CUA[ANTELD ADDIAUSL

relegated to repeat dates only.

Now let's jump forward a few years, to
1967. By this time I had been employed
at Davenport's Magic Store for three or
four years. That year, in September, Betty
Davenport and I attended the British Ring
Convention at Southport, and to coincide
with that event Betty produced the latest
edition of the Demon Telegraph. In that
edition we advertised my Signed Card in
Wallet effect and, as an extra bonus, we
gave them my burned bill routine, which
was advertised as never having been
seen by a magical audience. The advert is
reproduced herewith.
The Ten Second Paper Tear has been audi- Effect away from you, as in Fig. 6. It is important
ence tested mdny, many times, under all The effect is of course, the classic effect of that these corners are very well pressed
conditions and before all kinds of audiences. tearing a newspaper up into a number of down, and creased hard to prevent them
It is very easy to prepare, simple to perform small pieces and then completely restor- turning up to their normal position.
but (and I hope you will forgre me) rather ing it. Place this prepared newspaper aside
dfficult to describe in print. for the present. This paper is the one that
heparadon will be seen at the end of the effect, as
Take two double pages from a newspaper completely restored. What we have done
and lay them out on a table as in Fig. I. so far is to create a pocket in this paper
We will call them Nos. r and z. Tear No. I into which the torn pieces will eventually
sheet up the centre crease to the halfivay be hidden.
mark (Fig. z). Now fold this half page At this point we take another two
upwards until we arrive at the position double pages (duplicates ofthe first rwo)
shown in Fig. 3. Now square up sheets r and lay them out on the table, again as in
and z and fold the two left hand sheets Fig. l, and pick up the already prepared
(or pages) over to the right as ifyou were newspaper and place it on the right hand
closing the newspaper, and fold down the side ofthe two opened up sheets on the
corners ofthe first two pages, as in Figs. 4 table (Fig. 7). Now close the two sheets
and 5. One of these corners is actually the on the table with the prepared one inside
folded up half page. Take the corners of it (Fig. 8). The front page ofthe newspa-
the remaining pages and fold them back, per should be facing you.

t76 MrscELrnNEous
Penfonrnance down the crease for the first two or three up a duplicate ofthis paper behind the
Pick up the newspaper from your table inches, but not touching the duplicate pieces.
and open it out as if you were going to inside (Fig ro). This folding and tearing business is
read it. Leafthrough it, apparently read- Open up the newspaper (trolding the repeated twice more, exactly as before, so
ing out a few of the items on different duplicate to the left with your Ieft thumb) that you are now in the position ofhaving
pages. (You have a selection ofthem in and tear it right down the centre crease as a newspaper folded to one-eighth of its
the gags supplied later on.) This by-play is in Fig. u. Place the half in your right hand size and secretlyhidden behind the small
actually to let your audience see that the in front ofthe halfin your left hand, Fig. pieces that you have torn up.
newspaper is (apparently) unprepared. rz, (placing them nearest the audience). Nowwe come to the most important
Make sure you don't disturb the duplicate Now fold the bottom half of the paper part-the apparent restoration of the
inside during this little bit of chatter. up towards you, folding the duplicate pieces. Hold the pieces in the left hand,
Close the newspaper - and hold it in inside with it (Fig. r3). Turn the paper thumb at the front, fingers at the rear as
your left hand, at the top left hand corner around so that the top half of the front in Fig. t8. Ifyou stand facingyour audi-
with the front page facing the audience. page is facingthe audience (Fig. r4), and ence and hold your left hand out from
Your fingers should be at the front, thumb repeat the tearing business as before (Fig. your body slightly, you are in the right
at the rear, and first finger in front ofthe r5, 16), placing the right hand pieces in position. Bring your right hand over and
gimmick (Fig.S). front ofthose in the left hand (Fig. 17). up to the pieces in your left hand, place
Place the fingers ofyour right hand At this stage we must point out that your thumb in front ofthe pieces, your
inside the top ofthe paper andjerk them what you are actually doing is tearing up forefinger behind the pieces, and insert
quickly to the right, tearing the paper a newspaper and at the same time folding the remaining three flngers into the

MISCELLANEOUS 777
duplicate newspaper behind the folded- do this you turn to the right so that your wearing nothing!"
back corners (Fig. r9) and grip verytightly left side is presented to your audience I see there's two Scottish children who
with all your fingers and thumb. Release and they can now see the other side of have run awayfrom home. When they
the papers from your left hand and, at the the newspaper. Open it out casually and were picked up, they said their Dad went
same time, swingyour right hand down 1et the pieces fall into the pocket which is behind the barn on Christmas Eve, fired
and outwards towards the audience, and ready and waiting (Fig. z3). This last part offhis shotgun, came back indoors and
give a sharp shake. The duplicate will in- is really a matter of timing, and the pieces said, "Father Christmas has committed
stantaneously unfold (Figs. zo, zr) leaving are actually dropped into the pocket as suicide".
you holding the small pieces in your right you turn round rather than at the last mo- Car for Sale - In Rattling Good Condi-
hand at the top right corner ofthe now ment (Fig.24). tion - can be seen any time after dark.
opened out duplicate (Fig. zz). At this When opening out the paper at the end Do you ever read the weather fore-
point you should be gripping the dupli- of the effect, be carefi:l that the pieces casts? It says here, "Today it will be
cate between your forefinger and other don't slide out the back ofthe pocket. Muggy, tomorrow will be Toogy, then
three fingers, and your thumb should be Weggy, Thuggy, Frigy, Saggy and Suggy.
holding the pieces against your forefinger. Well! That is it. It's taken rather a long I see there's a little Duck here, just
The audience at this point would be time to explain the working of this effect divorced her husband. She said she's fed
able to see the pieces projecting over the but you can take it from me, it is an effect up listening to his wisequacks.
top ofthe duplicate, so, to prevent this that is worth doing and, given a little I see a doctor got his face slapped for
happening, you bend your right forefinger practice, I can guarantee it is one that you telling one of his patients she had Acafe
back towards you and hold the pieces will perform at nearly every show. Apendicitis.
down behind the duplicate by bending I see there's an old man fell down a
them slightly towards you (see Fig. zz Gagsfonthe Ten Second Papen Tean forry foot well. still, not to worry he
again). Have you seen this advert for the (name didn't die-he just kicked the bucket..
of a local) Cinema? They're having a spe- I see So-and-So's doing alright with
The effect is now over, but to really cial matinee at Easter and they say that his latest record. It's in the hit parade.
convince your audience that they have every child laying an egg in the doorkeep- He isn't the only one who makes records
witnessed a miracle, you now oPen up the er's hand will be admitted free. you know, I made a record once. I sang
newspaper and leafthrough it as you did Do you ever read these letters to Miss "Who's Sorry Now" on the front side and
in the beginning. Lonelyhearts? "I have been engaged to my "I WonderWho's Kissing Her Now" on
To do this, remember that you arc boyfriend for three years and have just the back side.
holding the paper in your right hand discovered he has a wooden leg. Should I
in front ofyou. Bringyour left hand break it off?" The above is a random selection from,
up behind the paper, take hold ofthe I see they have a new hairdressing my gag file. Needless to say, only one or
two folded down corners, and lift them product called "NotruNG". It says here, two ofthe gags shouldbe used at any one
upwards to their corect position. As you "Be the hit of the party-just show up tlme.

778
A ned handkenclrlefis pushed through through the left hand and, as this is done, of your left fist. Steal the Die Tube with
the left fist; it emerges green. The effect is the Die Tube is loaded into that hand. the handkerchief. Open your left hand.
now explained to the audience but at the Tuck the red handkerchiefinto the top Take the red handkerchieffrom your
climax they are none the wiser. My first of the left hand (into the Die Tube). This top pocket and in drawing it through the
recollection of this effect was in a book by forces the green handkerchief out ofthe left hand the Die Tube is loaded inside.
Grant and Lane. This is a simplified ver- bottom ofthe tube and fist. Steal the Tuck the red handkerchiefinto your left
sion of the effect. Tube from the top ofthe left hand. Open fist forcing the green handkerchief out
the left hand to show it empty. ofthe bottom ofthe Tube and fist. Steal
Requirements Offer to explain how this effect is the T\rbe and red handkerchief. Pull the
One red handkerchief, one green handker- achieved. Take the green handkerchiefin green handkerchieffrom the bottom of
chiefand one hand Die Tube. your left hand and place your right hand your left fist and place it into your pocket,
into your pocket with your forefinger dropping the Die Tube into the pocket at
Penfonmance going into the Die Tube, forcing red hand- the same time. The left hand is still held
The Die Tube, loaded with the green kerchiefout. Remove that red handker- closed and as you open it say, "Always
handkerchief, is in the right jacket pocket, chief openly from your pocket, concealing remember, keep the Ieft hand closed".
the red handkerchiefis lying loose on top the Die Tube in your right hand. Explain
ofthe Die Tube. Reach into the pocket that you use two handkerchiefs. Place the lPat devisedhis own version ofthe Dye
and openly remove the red handkerchief. red handkerchiefinto your top pocket. Tube called the Pat Ttrbe, which is avail-
The Die Tube is concealed in the same Load the Die Tube into your left hand. able fr om www.P atrickp ageM agi c. c o.uk.)
hand. The red handkerchiefis drawn Tuck the green handkerchiefinto the top
I tmtnead of this effect in one of the You will, of course need a false finger, do so, loop the thread over the second
Hoffrnann books, and spent years trying plus a silk handkerchief. Actually half a finger.
to make it work. I kept coming up against silk handkerchief, cut diagonally, is the It is now simply a matter of showing
the same problems. answer. Attached to one end ofthe hand- the hands back and front, bringing the
First I couldn't get a silk handkerchief kerchief is a small loop of thread. hands together, pulling the finger from
into the false finger, and when I finally Place the silk into the finger leaving the the left hand with the right hand and, as
figured out that halfa silk handkerchief end with the loop of thread last. Place the the hands are separated, the silk appears.
would fit into the finger, I found I couldn't finger in position between the second and
get it out quickly enough third fingers ofthe left hand, and as you

18o MrsCELLANEous
Thts ls a routine which I have been per- PnopsRequfi'ed
forming since the early nineteen fifties. It Three white handkerchiefs.
is based on the original Al Baker concep- Two different coloured handkerchiefs.
tion for this effect. One Dye Tube.
One sheet of stiff paper.
One magic wand.

Pneparatlon
The rwo coloured handkerchiefs are
pushed into the Dye Ttrbe, one on top of
the other. The stiffpaper is rolled into a
tube and placed on your table. Ifyou roll
the paper and place a rubber band around
it, leaving it overnight, it will retain its
shape and remain in the form of a tube
even when the rubber band is removed.
The Dye T\rbe is placed on the edge of
the paper tube, and behind it, so that the
spectators will not see it from the front
(fig. D. The wand is also on the table.
 ,-r. t
\/
-'-, )r

Tlre Routlne held by the right hand is curled over The right hand can now be removed from
You invite a small boy or girl to assist you. slightly, which helps conceal the Dye Tube the bottom ofthe paper tube and the Dye
You are standing with the table on your in the right hand. Tube will be held inside by the Ieft hand.
right and the assistant on your left, as you Remove the paper from the assistant's The right hand removes one white
face the audience. face and release the left hand grip on the handkerchief from the right jacket pocket
Pick up the paper tube with your right paper. This will cause the paper to roll up and pushes it into the bottom ofthe pa-
hand. The right hand actually takes hold towards the right hand holding the Dye per tube, but actually into the Dye Tube.
of the Dye T\rbe, covering it completely, Tube. Hold the paper in front ofyour This action will cause the two coloured
and the edge of the paper is held by the body and, using both hands, roll the paper handkerchiefs to be pushed out ofthe
right fingers and thumb (Fig. z). T\rrn to up into a tube with the Dye Tube inside it. Dye Tube and into the paper tube. Now
your assistant and unroll the paper tube Hold the paper tube in the left hand, reach into your pocket again and produce
in front oftheir face, using both hands gripping the Dye Tube, which is about a second white handkerchief. Push this
(Figs. 3 and 4). Ask her if she can see halfiuay up the paper tube, through the handkerchief into the Dye Tube as wel1.
through the paper. She will answer "No". paper. Place the right hand under the The position is that there are two white
You now reverse the position ofyour paper tube and relax the left fingers'grip handkerchiefs in the Dye T\rbe, and two
hands. (Fig. 6). The Dye Tube, being heavy, will coloured handkerchiefs in the paper tube.
Bring the right hand up and the left slide down inside the paper tube to land The idea now is to secretly dispose ofthe
hand down (pig.S) and ask ifshe can see on the right palm. Slide the left hand Dye Tube containing the white handker-
through this side ofthe paper. Again she down the paper tube and grip the Dye chiefs, leaving the two coloured handker-
will answer "No". The edge of the paper Tube again through the paper (Fig. 7). chiefs in the paper tube.
 To do this, place the bottom end ofthe a little more with the wand. The second
paper tube on the right hand. Relax the coloured handkerchief will now make its
left fingers'hold on the Dye Tube and it appearance. Remove this handkerchief
will slide out of the paper tube and into from the tube.
the right hand. As this is done, the right Take the magic wand from the assis-
hand reaches into the right pocket and tant, and ask her to undo the knot and
leaves the Dye Tube behind as it brings give you the handkerchief. Now ask her
forth the third white handkerchief. to unroll the paper tube to show there is
This handkerchiefis handed to your as- nothing inside it and that they really did
sistant, who is instructed to tie it around perform a magic trick all by themselves.
the paper tube. You hold both ends of
the tube as this is done (Fig. 8). Once the
knot has been tied, hold the paper tube
in the left hand. Give the magic wand
to your assistant, and ask her to push
the wand, very slowly, up into the paper
tube. As this is done, one ofthe coloured
handkerchiefs will make its appearance
at the top end. Pull this handkerchiefout
ofthe tube and ask your assistant to push

183
Tlris carne about while I was working Rear View
on a television series calledThe Quick
Trick Show, starring Stephen Mul-
hearn. The executive producer, Andrew
O'Connor, wanted a torn and restored
effect and, as a former professional magi-
cian for manyyears, he knew a1l the exist-
ing routines.
What he wanted was a torn and
restored poster ofthe four Spice Girls,
who were really hot at that time. So we
made some up with a couple of different
methods and tried them out, but he didn't
like them. His words were, "Is there any
way of doing it without all that tearing
up and crushing the pieces together into
a little bundle". The answer, of course,
was, "No", there wasn't. So I went home,
burned the midnight oil, and what you are
about to read is the result.

784
 the left hand moves to the top of section folds meet in the centre (Figs. 4 and 5).
3. The right hand is now holding the top A piece of double-sided tape is applied to
ends ofsections r and z. The right hand the rear ofthis package (the face ofthe
now tears section z, while still holding the duplicate is folded in). The corners ofthe
loose section r. Both those sections are top of the folded duplicate are folded back
placed in front of section 3. in a triangular fashion to give your fingers
The right hand now holds all three something to grip for the flash restora-
sections at the top edge, and the Ieft hand tion (Fig. 6). Refer back to Fig. 1 to see the
tears section 4, always in a downward folded duplicate attached to the rear of
fashion as before, and places section 4, in panel 3. Fig. 7 shows the hands gripping
After I had demonstrated it the next front of the other three. the tabs ready for the restoration, and
day,Ali Bongo, who also worked on the The situation now is that you are hold- Fig. 8 shows the restoration from the rear,
show, said, "You'd better write all that ing four strips of paper, one in front of with the torn pieces hidden.
down before you forget it". I didn't, so I the other, andbecause there is stickytape Although I haven't tried it, there is no
had to burn more oil to reconstmct the between them, theywill stick together reason why this couldn't be done on a
folds. It is actually a perfect method for as one piece. At the back ofthose pieces smaller scale, with, say, a treasury bill. It
use with a single sheet of paper, like a is the duplicate, all folded up. Due to the would be perfect for television, doing it
poster. We were lucky in that the posters method of folding the duplicate, all you right in front ofyour face.
that we were supplied with had the four need do now is to take hold ofthe rwo ap-
girls standing in a line, which led me to propriate corners and, with a combination
want to tear the poster into four equal of a for-ward shake and a separation of the
sections from top to bottom, separating hands, the duplicate will both open out
the girls, one on each section ofpaper. and turn over, presenting the face ofthe
The actual method is probably the duplicate to the audience. The four sepa-
original method for a torn and restored rate sections will remain stuck to the back
paper, in that the duplicate is stuck on the ofthe duplicate, in a horizontal position.
back at the beginning, and the pieces are Because ofthe oblong shape ofthe
stuck on the back at the finish. But there paper, there is no fear that any ofthe
is a difference, and you will have to look edges will ever peek out. The length of
at the illustrations to follow it. the strips is far less than the width of the
To begin with, the paper should be paper. The transformation really needs to
oblong and be presented to the audience, be seen to be appreciated. One moment
landscape style. It is pre-creased into four you are holding some strips of paper and
sections, from top to bottom. At the top in a flash, you have the whole poster again
of each crease is a tiny tear, which makes without any of the usual palaver. The
life easier for you when you start the strips of paper needn't be arranged neatly.
tearing process. On the back ofthe paper, Just place one in front ofthe other and
there is a duplicate folded in a particular theywill stick.
way, which we will come to later, and it is Now for the folding. Ifyou are going to
stuck to the third section, or panel, ofthe use a poster or large picture, it has to be
paper. In addition to the duplicate, there folded with the picture inside the folds,
is also a strip of double-sided sticky tape but, unlike many other similar methods,
running most of the length of the other in this instance, the duplicate is glued to
panels. We have numbered these panels r, the back ofthe original, at right angles.
z,3,and4 (Fig. r, rearview). This guarantees that when the restoration
In performance what happens is that is made, the four strips on the back will be
after displaying the paper, or poster, by $ing along the length of the poster.
holding the two top corners, the Ieft hand
takes hold ofthe paper at the top of sec- Figs. z and 3 show the ends ofthe du-
tion z, and the right hand tears section plicate being accordion-pleated in toward
r, from top to bottom. The right hand the centre to reduce the length. The pleat-
places this section in front of section z, as ing is next done the other way, until the

185
Tlrls meUrod of vanishing a small silk hand (Fig. t).
handkerchief in a thumb tip is based on The thumb tip has been turned in the
an old coin vanish. Once the handkerchief Ieft hand to a position where the mouth is
is inside the thumb tip, in the left hand, facing towards the left wrist.
the hand is held back out to the audience. Ifthe left hand is now turned over, the
The right hand is shown empty. The thumb tip will fit on to the right thumb.
right forefinger is placed in a pointing The right middle finger assists in holding
position so that the tip ofthe finger is the thumb tip (Fig. z).
touching the middle of the back of the left
Efiect The visual transfer of four thimbles on the right forefinger. This thimble is
A manipulative routine in which a thimble from one hand to the other. This is a apparently placed into the left hand and
is produced and eventually multiplies to simple sleight. The left hand having stolen vanished.
eight. four thimbles is held in a closed fist, with The same thimble is reproduced from
the back ofthe hand to the audience behind the Ieft elbow.
Requhements (Fig. z). The right hand is displaying four The right hand now reaches behind the
T\vo thimble holders loaded with four thimbles. left elbow and produces a thimble on each
thimbles each. One holder is pinned to Athrowing motion is made from the finger. This is achieved by simply straight-
the left side, the other to the right side. right hand to the left and, as this is done, ening out the remaining three fingers.
the right forefinger Thumb Palms one All four thimbles are apparently placed
Stetghts thimble and the other three fingers are into the left hand and vanished.
There are only three sleights in the rou- curled inwards; at the same time the The right hand next reaches behind the
tine in addition to the standard Thumb Ieft hand is opened to display the four left elbow and produces a thimble on each
Palm. thimbles (Fig. :). It looks as if they have finger. This is achieved by simply straight-
The vanish of one thimble. Practically been thrown from one hand to the other. ening out the remaining three fingers.
any standard vanish of a thimble will do. All four thimbles are apparently placed
The vanish of four thimbles. The first TheRoutilne into the left hand and vanished.
thimble is any standard vanish in which Four thimbles are stolen from the right The right hand reaches forward and re-
the thimble is concealed in the Thumb side. The thimble on the forefinger is produces the four thimbles from mid-air.
Palm. The remaining three thimbles are Thumb Palmed, the other three fingers The left hand steals the four thimbles on
inserted into the Ieft fist one at a time and are curled inwards hiding the remaining the left side at the same moment.
hooked out again. three thimbles from view. The four thimbles on the right hand
The fingers are curled inwards to con- The right hand reaches upwards and are now apparently tossed across, as ifby
ceal them fromview (Fig. D. produces the Thumb-Palmed thimble magic, to the left fingers.

782
Tlrls is Ure perfect, apparently im- to get the right length of cord. Ifyou The right hand lights the lighter.
promptu, magic effect. You bring forth stand up straight with both arms straight As you say to the spectators, '\ratch
from your pocket a cigarette lighter in down byyour side, the lighter should this", both hands move forward, the right
your right hand, and light it. With the be hanging in the right sleeve below the hand above the table, the left hand below
lighter still alight, your right hand reaches elbow. Ifyou now raise the left hand up the table.
to the centre of a table top. At exactly the to waist height, the weight of the lighter As soon as both hands move forward
same time the left hand reaches under should carry it down into the right hand. the lighter will be pulled up the right
the table. The right hand slaps the lighter The second lighter is in the left jacket sleeve so fast, it's almost unbelievable.
down on top ofthe table and the 1eft hand pocket. At that moment the right hand is slapped
brings forth the lighter, alight, from under To perform the effect you bring both down on the table and the left hand is
the table. hands up to bothjacket pockets, with the withdrawn from under the table bringing
Two duplicate lighters are required. left handjust a fraction ahead ofthe right. the lighter, alight, into view.
One ofthem is attached to one end ofa By the time the hands reach the pockets I came up with this effect a long time
nylon cord; the other end ofthe cord is the lighter should be in the right hand. ago, and if it seems familiar, it maybe
attached to your wrist watch band on the The left hand reaches into the left pocket because you saw Simon Lovell perform it
left wrist, making it a sort of Hold-out. and grabs the loose lighter. Both hands on a video, which is probably now a DVD.
The cord travels from the wrist, up your come out of the pockets more or less He had my permission.
sleeve, across your back and down your together, with one lighter concealed in the
right sleeve, where the lighter dangles in left hand and the other lighter on display
your sleeve. You will have to experiment in the right hand.

188 MrscELLANEous
Once upon a time, manyyears ago, one a handful of coins as the load. If the coins tambourine. The one I use was supplied
Pete Biro walked into the Magic Cel- and the tambourine hit the table at the to schools and is of a reasonable quality.
lar, which was situated in the basement same time, the noise of the tambourine Don't use one of the very cheap toytam-
of Earthquake McGoon's club in San will hide the noise of the coins, as they bourines made for four year olds.
Francisco, and saw a tambourine hangng scatter slightly on the table under the It is also important that the fabric
on the wall. He lifted it offthe wall, toyed tambourine. It really works. on the tambourine isn't transparent or
with it for a moment and tossed it on to The routine which follows is the result semi-transparent. Most of them are, so
a table where it landed with a jangling of kicking Pete's idea around. The tam- you will probably have to, as I did, stick a
sound and at that moment a great idea bourine I use is five-and-a-halfinches in piece of self-adhesive something or other
was bom. Pete realised that the noise diameter by one-and-a-half inches deep, to the inside surface. When I bought the
created by the tambourine hitting the which makes it a small tambourine, and first one, and I have had several, I placed
tabletop was the perfect cover for loading the reason for this is that if it is sitting a red sponge ball under it, and I could see
something under it as in the Roy Benson mouth down on the table top, I can lift a red glow through the upper surface, so
Bowl Routine. it from the table with the left hand by beware.
One problem was that the average placing the left palm on top of the tam- As in the original Roy Benson routine,
tambourine was not as deep as the bowl bourine and the four fingers and thumb the three balls are vanished one at a time
used in this type of routine, which limits spread around the perimeter. There is a and appear under the tambourine and
the height of the load which may be con- pafticular reason for lifting it in this man- finally an entirely different object, in this
cealed under it. When Pete mentioned his ner, which we will come to later. If you instance, the coins, appears. The set up is
discovery to me, I hit on the idea of using have a larger hand you can use a larger simple. The tambourine is on the table,

189
 The right hand turns the tambourine
over and places it mouth down over the
first ball, at the same time loading the
second ball underneath.
The right hand now picks up another
ball from the table and apparently places
it into the left hand, but again retains it
in the right hand. The left hand repeats
its crushing action and again is opened
out palm downwards to show the ball has
mouth upwards, with three balls sitting the right hand. The left hand closes into a gone. During this action, the right hand
inside it. A fourth ball is in the right jacket fist and turns fingers down, back up, and has been placed palm down on the table,
pocket, plus about a dozen or so coins. performs a combination of a rubbing and slightly to the right of the tambourine,
When you are ready to perform secretly crushing movement a few inches above with the ball under it, pressed down
get hold ofthe fourth ball from the pocket the tambourine. Eventually open your against the table top.
in right hand finger palm. fingers wide, palm down, to show the ball Once the Ieft hand has concluded its
Pick up the tambourine with the left is no longer there (Figs. r and z). Don't crushing action the left hand is lowered
hand and transfer it to the right hand, turn the hand palm up which is the obvi- onto the tambourine as before and 1ifts it
which takes hold of it by placing the right ous thing to do, because we are precondi- offthe table, turning it mouth upwards to
fingers containing the ball inside and the tioning the spectators for something that showthe second ball has arrived. You now
thumb on the outside of the tambou- happens later. turn the tambourine mouth downwards
rine. T\rrn the right hand over and dump The left hand, with fingers opened to cover the fwo balls but, as you do so,
the three balls onto the table. The left wide, is nowlowered down onto the tam- you lift your right hand off the table and
hand picks up the three balls and places bourine and lifts it offthe table to show cover the concealed ball also, so that you
them slightly to the left as the right hand the ball underneath (Fig.A).In picking now have, unknown to the spectators,
replaces the tambourine mouth down up the tambourine, the left hand turns it three balls under the tambourine, rather
on the table, loading the ball under it. mouth upwards, and transfers it to the than two.
The right hand picks up one ofthe three right hand which takes hold of it as before The remaining ball is now placed into
visible balls and apparently places it into with the fingers inside concealing the ball the left hand for real, but repeating the
the left hand, but actually retaining it in they are holding and the thumb outside. hand actions as before. The left hand is
 o
o

placed over the tambourine as before, one of the balls against the inside wall of the table. This will prevent the tambou-
performs the crushing action and as it the tambourine as it is tumed over and at rine from bouncing up, offthe table, and
is opened palm down it is placed down the same moment the left hand allows the allowing one or two coins to slide out
on to the tambourine, trapping the ball ball it is holding to drop onto the table. from under.
between the palm and the tambourine. The general effect intended is that the Pick up the exposed ball and place it in
The tambourine is picked up and turned spectators see three balls in the tambou- your pocket, lift up the tambourine and
over as before to show the third ball has rine, the right hand turns it over and they expose the loot. Finale.
arrived. see three balls on the table. Place the tam- This tambourine idea goes back to
What you have done is a bluffvanish of bourine on the table with the ball under nineteen seventy-ish, when the world
the ball. The first and second balls were it. The right hand picks up all three visible was a tinybit larger than it is today, and
reallyvanished and because the hand balls and places them into the rightjacket almost the only place to buy a tambourine
actions were repeated exactly for the pocket and at the same time grabs hold of was in a music shop. Times have changed
third ball the spectators had no reason to the coins. The right hand is removed from and they can be seen in all kinds of
believe that the third ball hadn't disap- the pocket in a clenched fist, holding the emporiums which specialise in importing
peared in the same manner. coins, and knocks twice on the tambou- goods from some of the more exotic spots
Once the Ieft hand has lifted the tam- rine as ifyou were knocking on a door. around the world.
bourine offthe table, it turns it mouth The left hand lifts up the tambourine as As tambourines go, most of them are
upwards exposing the three balls under- before, and places it onto the right hand, pretty similar, but in recent times I have
neath. The ball in the left hand is being which takes it with the fingers under- seen tambourines which are perhaps four
concealed between the palm and the tam- neath, thumb on top. or five inches deep with exactly the same
bourine, which is being held mouth up- The coins are now being held on the metal jangly bits on the side as before.
wards. The right hand picks up the three fingers, under and inside the tambourine. They are probably some kind of small
balls and drops them into the tambourine The spectators can see that one ball has drum rather than an out and out tambou-
to displaythem. The fingers of the right returned under the tambourine. rine, but just imagine the load you could
hand are now placed inside the tambou- The right hand places the tambourine get under it!
rine, thumb on the outside, and turn it on the table and at the same time releases
over to dump the three balls on the table. its hold on the coins. In placing the tam-
As this is done two actions take place, bourine on the table, it is important to
and the spectators should be unaware of place it down smartly, with the thumb
either of them. The right fingers squeeze applying pressure downwards as it hits
The tery first bonowed finger ring ffict I At that tl,me, and even to this day, it has was held down by a small press-stud,
eler performed, was gitten to me as a pres- become almost standard practice to have of the male/female variety (Fig. t). The
ent, by an ltalian American professional a duplicate ring of sorts sewn into one duplicate ring was concealed in this acces-
magician called Amadeo. I was working at corner ofthe handkerchief. This is the sible pocket. The reason for this was that
Chatel's Magic Shop, not the booth in the one that is heldbythe spectator through the duplicate ring could be changed easily
arcade, so that uould make it between ry56 the thickness ofthe handkerchief. The on the odd occasion when you knew in
and ry58. Amadeo version was similar, but the advance the ring you were going to use.
I did it on ki.d shows, usually bomowing the handling was easier, cleaner, and less sus- The pattern of the material disguised the
birthday child's rtng if she had one. lf not, I picious. His duplicate ring was sewn into pocket stitching.
used to rope Mum in on the act. ln that effect, the centre ofthe handkerchief. The cloth is draped over the left palm,
the ringwas tankhed in ahandkerchief and I think that needs a little more in the with the pocket upwards. The hand is
appeared at the centre of a lrngth of ribbon, way of explanation. To begin with he tilted a little to keep the pocket from
both ends of which were being held by two didn't use a handkerchief, but a piece of view. The borrowed ring is held in the
spectators. I no longer perform this effect, cloth with a multicoloured jazzy pattern. right hand at the fingertips and thumb.
but for anyone who uses something similar, It looked like dress material to me, and The left hand is turned over on top of
Amadeo's uanislr will be of interest. not very thick. The ring wasn't actu- the right hand and the cloth is allowed to
ally sewn into the handkerchief. A small drape down over the right hand holding
square of matching material was sewn, on the ring. Almost in one action, the left
two edges on1y, to the centre ofthe cloth. forefinger and thumb grip the duplicate
This left one loose corner, and this corner ring through the cloth and lift the cloth

792 MTSCELLANEOUS
upwards and clear ofthe right hand, that vanished ring. Since the advent of small nest ofboxes, or change purses? I
which drops to your side concealing the Al Koran's Ring Flight, this has been the doubt it. With Ring F1ight, everythingwas
borrowed ring. favoured method for most close-up work- cut and dried, and anyone who bought it
The left hand immediately passes the ers. The reason is obvious. The vanish and didn't have to think too hard about it. Just
cloth to a spectator to hold, instructing reproduction of the ring are combined in read the instructions, do it, and you are
them to keep a firm grip on the ring itself. one prop or gimmick, and it is relatively a magician. Very little mental effort was
This allows the cloth to hang down from easy to do. I played with it for years, and required to perform it, which made it the
the spectator's hand. It is usually at this my friend, Jack Emerson, performed it for perfect effect for a magic dealer to sell,
point that the borrowed ring is loaded years, but I could never bring myselfto because they didn't have to give it a lot of
into a nest ofboxes, or whatever prop you perform it more than a few times. I still thought either.
have decided to use. have the prop, somewhere, but it isn't for So what is the best way to vanish and/
To vanish the ring you simply take hold me, and there is a reason. or reproduce the ring? Of course, there is
ofone ofthe corners ofthe cloth and I never ever thought that the vanish no best way-but there is a lot of satisfac-
pull it downwards out ofthe spectators of the ring in Ring Flight was very good. tion in finding away of your own. I found
grip, giving the cloth a shake as you do so, I know I am swimming against the tide a way of reproducing the ring that works
to show that the ring is no longer there. here, but I really do think there are better for me, but not for everyone.
I still think that, for kid shows or large ways of vanishing a borrowed finger ring. You have a pair of spectacles in your
platform work, this is the ideal method It may not finish up on a hook in a key back pocket ofyour trousers, with the
for the vanish of a borrowed ring. case, but is that any better than some of right leg ofthe spectacles outside the
Now we come to the reproduction of the things that have gone before, like a pocket, pointing to the right. Assuming

193
 probably natural to expect that stone to
be visible when it is displayed in a small
ring box, and if it isn't, then it is another
ring. It is important that the nylon sponge
is well glued into the box to prevent it
being pulled out ofthe box as you remove
the ring.
I have already stated that I think there
are better vanishes than the Ring Flight
one, so I had better explain why I think
this way. What I think is a problem with
the vanish is that the moment you place
the ring into the end ofyour closed fist,
(that's how everyone seems to do it) and
although they can see it there, theyknow
instinctively that it is going to disappear.
The result is not quite a "so what?" at-
titude from the spectators, but there is an
element of wanting to know where it is
immediately, with absolutely no apprecia-
that you are using the Amadeo cloth for I found a ring box at home which had tion ofthe fact that the ring has vanished.
the vanish, you simply reach round to a transparent plastic panel in the lid (Fig. The fact that, in most instances, the key
your back pocket with the right hand, z). I removed the piece of plastic and wallet is on display already detracts from
and load the ring on to the spectacle turned the box upside down, so that I now the actual vanish. I think that a good van-
leg as you lift them from your pocket. had a bottomless ring box. The original ish ofanything is an effect in itself, and
Because you will be holding the glasses at bottom halfofthe box contained a piece should be presented that way. The fact
the hinge, you can give them a shake to of nylon sponge with a slit at its centre that it is something you have borrowed
unfold the other leg. to hold and display the ring. This was from a spectator demands that it should
Place the glasses on your face and you transferred to the other half of the box so be reproduced somehow, but not neces-
will be amazed to find that no one will no- that it was sitting over the hole at the now sarily immediately.
tice the ring on your glasses. All ofthese bottom of the box. The slit was now cut This writer has only ever used four
actions should take place while you are right through the piece of sponge (Fig. :). vanishes for a borrowed finger ring: A
instructing the spectator to hold the ring With the box closed you could now straightforward sleight of hand vanish,
through the cloth. I have had people talk secretly push a ring into the slit which the Amadeo cloth, the Ray Grismer vanish
to me, while looking straight at me, face was now at the bottom of the box. When from a rope (which we will er<plain later),
to face, and never saw the ring hanging the lid of the box is opened, the ring is and a very old one where the hand hold-
there right under their nose. sitting in the slit exactly as it would be if ing the ring is covered by a handkerchief,
As I write it occurs to me that there you saw it in a shop window. That is my and the hand sealed by placing a rubber
is no reason why a female performer so-called improvement on Vanni Bossi's band around the wrist of the same hand.
shouldn't hook the ring on to an existing idea, and I am sure that others have come Let's explain the last one first. The
earring which she is wearing. The simple up with similar ideas. Once I started effect is that the ring is placed into your
action ofbrushing the hair back would performing it, I discovered something left hand which is closed into a fist and
provide the necessary cover. Come to else. In practice, I had been using a cheap turned back up. You drape a handkerchief
think of it, there are more males wearing imitation wedding ring. When I started over the hand, so that the handkerchief
earrings these days than ever before, and performing with it I got all kinds of rings, drapes downwards all round the hand.
they are not always in their ears. and the very first one had a large stone in The right hand gathers the folds of the
And one more. it. For no reason, after the vanish I pushed handkerchiefaround the left wrist and
On one of many trips to Italy, I was the ring into the slit with the stone you ask a spectator to hold the handker-
presented with a gift from the late Vanni underneath. When the lid of the box was chief tightly around your wrist. You now
Bossi, of Milan. opened, all that could be seen was a plain reach into your pocket and bring forth an
It was a small ring box of the type that gold band. When I asked the lady if this elastic band, which you give to the specta-
holds the ring, and he had gimmicked it to was her ring she replied, "No". I insisted tor to place around your left wrist to hold
enable you to secretly load a ring into it. I that it was, and she pointed out that her the handkerchief in place. Later when the
am not at liberty to divulge the exact de- ring had a stone in it. I pulled the ring out handkerchiefis removed, the hand is seen
tails because there was a subtlety involved of the slit and the stone came into view. to be empty. The ring has vanished.
that was quite original, but I can tell you I am not sure that I can explain how this It is not difficult to do. In the action of
that Vanni's idea was based on a bottom- improves the effect, but it seems to get wrapping the handkerchief around your
less box, into which the ring was loaded, a reaction every time it happens. Maybe wrist, the ring is dropped from the left
from the hand. it is just that if a ring has a stone, it is hand on to the right fingers, which just
happen to be passing under it to gather palmed coins are released and allowed to lifted upwards, and it looks as if the pack-
the folds ofthe handkerchief. It takes no drop onto the table. age has fallen out ofthe purse onto the
more than a moment. The right hand now The illusion is perfect; it really looks as palm.
reaches into the pocket to produce the if the coins came from inside the purse. The foil is offered to the person who
elastic band and leaves the ring behind, Once the coins have hit the table, the lent you the ring. When they open up
to be loaded later into whatever prop you right hand raises the purse a little, still the foil, you have another miracle. The
have decided to use for the reproduction. holding it mouth downwards, and the left only tiny problem in the whole routine is
The Ray Grismer vanish is the one fingers snap it shut. The right hand now wrapping the foil around the ring in the
I have used most. Because the ring is places the purse aside. The first four coins pocket. After playing around with it for a
threaded onto a rope, I think that most can now be vanished, for instance, and a while, I realised that there is no need to
spectators watching it are under the spectator invited to open the purse. worry if it is not completelywrapped, and
impression that the ring is going to escape That's it. Okay? Now let's jump to Fred you can, if you need the time, have a little
from the rope. The fact that it has van- Kaps. He had a small plastic box in which trouble apparently finding the coin in
ished completely comes as a suryrise. [Pat a signed card appeared. I wanted to per- your pocket. It is still a minor miracle.
may mean the Clifton Ring Move from form a similar effect to Fred's, but with a The idea of wrapping the ring to enable
Earl Nelson's Variattots. Ed.) borrowed finger ring. The following was you to switch it came from a coin effect
Still one more idea I played around the result of my thinking. marketed back in the nineteen fifties by
with, but never had the need to perform In the purse is a duplicate ring English magician, Jack Delvin.
publicly because I was satisfied with the wrapped in a piece of silver cooking foil.
ring on glasses, was based on a card trick I A.lmost any ring will do, as it is never
saw Fred Kaps perform. The details of the actually seen or handled by anyone. The
card trick are now common knowledge purse is placed on the table in advance.
but I have to explain how I got to it. It all Whether you draw attention to it or not
started manyyears ago with a coin switch is a matter of choice. Lying in your right
I published in a manuscript calledTen jacket pocket is a piece of silver foil, two
Thoughts On Close Up. It would be around or three inches square, and a coin.
1970, or a little earlier, and although it The ring is borrowed and vanished by
wasn't a very good manuscript there were the Ray Grismer method, but there is no
a couple ofgood ideas in there, and this need to have the ends tied. Just let the
was one of them. ends dangle in the air. As soon as you have
What I am about to write is exactly stolen the ring, and in a continuous ac-
what was written in that manuscript, tion the right hand reaches into the right
without an illustration. jacket pocket and crushes the foil around
the ring, and leaves it there, bringing forth
the coin, which is placed on the table as
you say, "Don't worry if anything goes
The Purse Switch wrong, this'll buyyou another one".
The rope is now unwrapped from the
hand to show that the ring is no longer
This is a switch of several coins with the there. The rope is then bunched up and
aid ofa change purse. The purse should placed in the right jacket pocket and the
be small and have a snap opening. Place ring, wrapped in the foi1, is stolen out in
four coins into the purse. Four more the right hand. The left hand reaches for
duplicate coins are classic palmed in the the purse on the table, picks it up, and the
right hand. Pick up the purse and open it, right forefinger and thumb unsnap the
holding it in the left hand at one side of purse and open it. During this action it is
the mouth of the purse. Ask someone to natural for the fingers ofthe right hand to
Iook inside and tell you what they see. be in a closed position, actually conceal-
Theywill reply, "Four coins". Take the ing the ring. The left forefinger and thumb
purse in the right hand between the first are holding the purse at the bottom, dis-
two fingers and thumb at the bottom playing the open mouth for all to see the
ofthe purse and grip the coins inside silver-foil object inside it. The Ieft hand
through the thickness of the material. The is turned over and apparently dumps the
right hand now turns completely over foil onto the right palm. As with the coins,
and, holding the purse mouth downwards the forefinger and thumb grip the ring
over the tabletop, dumps the four coins through the purse, but the open mouth is
onto the table. In fact, what happens is placed over the silver foil package on the
that the right fingers retain their grip on right hand, which is turned palm upwards,
the coins inside the purse and the four apparently to receive it. The purse is now

195
Efiect The right hand now reaches into the
One billiard ball is made to vanish. jacket and brings forth the ball. Study the
illustration again and note the position of
Requlnements both hands. Ifthe left hand is turned over,
Three or four billiard balls held in the Ieft the uppermost ball will be placed into the
hand. It is intended that this vanish of a right palm automatically. At this point
ball be incorporated into a Billiard Ball the right hand drops downwards and the
routine. Three balls are held in the left left hand is raised slightly at which point
hand. The right hand approaches the left you count "One, two". When apparently
hand and the right forefinger points to the reproducing the ball from inside your
three balls one at a time, and counts them jacket, you have the perfect opportuniry
from the top down, "One, t'wo, three". to steal another ball.
When the right forefinger reaches the The big secret in performing this
bottom and third ball, the left hand turns sleight, if it can be called a sleight, is
over, back out, and you count, "'One two" timing. There is no actual skill or digital
because in fact there are only rwo balls to dexerity required, but if your timing is
be seen in the Ieft fingers. right, it is very deceptive. Don't rush it.
The left hand turns slowly over, palm
towards audience to show that it is not
concealed there.
The effect has been part of the staple fare for The clrosen patfr for improvement, as tion that the reader will know already the
magic performers since Lordknows when. always with magicians, has been to alter basis ofwhat is being discussed. The rope
As a straightfor-ward magic ffict, it would the method, not the effect. As the method has apparently been cut at its centre (ac-
be dificult to improw on it, but for centuries is, or should be, unknown to the audience, tually, there's a short piece folded around
magicians have been trying to do just that, it is difficult to see where the improve- a long piece, with the join concealed in
improw onperfection. ment is, other than perhaps ease of work- the fist). There are many different meth-
ing for the performer. If the basic effect ods of getting into this position, and what
remains the same, there doesn't aPpear to follows is the handling that was given in a
be any reason to alter the method, unless, manuscript manyyears ago. It was Harold
as already stated, it makes it easier to do, Sterling's Long and Short Rope Mystery.
or, makes the handling so much cleaner I have seen many performers do this, and
than before that it enhances the perfor- do it wrongly. Not badly, but wrongly.
mance of the effect. This is how it should be done. Display
What is described below are a few a four-foot length ofrope hanging from
items which this writer thinks bleaches the left hand. The upper end is held in
the handling of this effect a little more the thumb crotch with a couple of inches
than that which went before. protruding above the left hand. The right
As this book is not beingwritten for hand reaches down and brings up the
beginners, a few liberties with sryle and bottom end ofthe rope and it is clipped
format have been taken, on the assump- between the first and second fingertips of

198
 are cut off one at a time. In fact, about
two inches ofrope are cut offboth ends,
and allowed to drop to the floor near your
feet. You now loop the rope up and appar-
ently cut it at the centre, but in fact we
finish up in the standard position already
described, with a short length ofrope
looped under the long piece.
Now cut offthe two ends project-
ing above the left hand, allowing them
to drop to the floor, leaving two shorter
continue. From the above position, it is ends on view. We are back to the standard
normal to apparently restore the rope to position for the effect. Now perform the
its original condition. As before, there apparent restoration exactly as we have
are many different ways to affect this. described above and you will be left hold-
The one described below was designed to ing a long piece ofrope hanging down
direct the audience's attention to a part from the right hand, with, unknown to the
ofthe rope where the restoration is about audience, a short piece being held by the
to take place, when in fact the dirtywork right fingers at the top of the long piece.
had already been done. As soon as you reach this position, the
With the two ropes hanging down from left hand takes hold ofthe lower end of
the left hand, the right hand takes the bot- the long piece and brings it up to display
the left hand with a couple of inches pro- tom end ofthe rope on the right, brings it the rope horizontally, for a moment, and
truding upwards exactly as the other end. up, and places its end on top ofthe upper then the right hand drops both the end of
The rope is now displayed with the palm right end which is projecting from the the long piece it is holding, and the short
towards the audience, and it is pointed left hand. The left fingers reach out and piece, which drops to the floor to join all
out that these are the two ends, "and this grab the byte thus formed, pulling it into the other pieces $ing there. The actual
is the middle", and as this is said, three the left fist. At exactly the same moment, end ofthe rope plus the short piece are
things happen almost simultaneously. The the right hand is raised upwards pulling actually thrown down to the floor, rather
right hand brings the centre of the rope the short piece out ofthe left fist. The than dropped. The fact that there are five
which is hanging down in a loop, upwards performer's attention is on the left hand small pieces of rope lying on the floor
towards the left hand, and does the dirry as the right hand is raised. With a little when you only cut four pieces will never
work (catching a loop), with that pan of practise you can ensure that there will be be noticed. The left hand now tosses the
the rope being held in the thumb crotch, a short loop both above and below the roPe out into the audience.
as the left hand is turned inwards to show left fist, 'nVatch", you say, as you open the The reason for this little sequence is
the back ofthe hand to the audience. left hand and allow gravity to straighten that it enables you to finish your routine
What the audience now see is the back out the rope. The position now is that, without having to surreptitiously dispose
of the left hand with the two ends of the although you have cut and restored the ofthe short piece.
rope projecting upwards, and the centre rope, you are in a situation with a short
ofthe rope (actuallythe loop) also pro- piece being held at the upper end ofthe
jecting above the left hand, but between rope, which means you can continue the
the two ends. Once the cut is made, there routine, if you so wish, with moves that
will be four ends projecting upwards from have been detailed in too many other
the left hand, three of which will be held books to mention.
in position by the left thumb, and one still What has been described above is
clipped by the first two fingertips. Place simply another method of presenting the
the scissors aside, and quite deliberately apparent restoration ofthe two pieces of
take the two ends nearest the fingertips, rope. Here is still another presentation
remove them from the left hand, then in which that little piece is disposed of,
lower them and leave them hanging from and the rope can be tossed out into the
the left hand as two pieces ofrope. audience. Again, we start with a four-foot
Okay, that's it, but while we are on length of rope. Commenting on the fact
the subject ofthis particular effect, let's that the ends are alittlefuzzy,both ends

MTSCELLANEOUS 199
 o

Back in the nineteenfifries,I bought an effect What I did was add an extra magnet to advantages, but it also has a couple of dis-
the gimmicked rope, so I could perform advantages. First, it gets dirty, and to this
from London Magb Dealer Harry Stanley,
who owned the tJnique Magic Studio. The ef- a cut and restored effect to one ofthe mind there is little worse in an act than
fect was called. Red and White Ropes and was circles of rope, the one with the mag'nets, dirry props, and there is something about
a simplified version, by Peter Warlock, of a using a more or less standard handling. dirty rope that makes it seem dirtier than
Linking Ropes effect by E.l. Moore. Basically, Manyyears later I devised a different han- it is. So, after use, it should be kept in a
fwo pieces ofrope, one red and one white, dling for the cut and restored part, and plastic bag and not left lying around to get
were tied into two linked circlu and became sold it at lectures here, there and every- dirry. I got the plastic bag idea from Billy
unlinked magically. I used it for several years, where. I called it The Everlasting Cut and McComb.
and in the process, added a bit to it, which I Restored Rope. Secondly, as it uses magnets it will in-
would like to say was an improvement, but it Now isn't that just a great title for a stantly make some readers jump a couple
wasn't. trick? The reason for the title is that you ofpages ahead. Good. Let them. Ifthere
can use the same piece ofrope over and is anything worse than a magical purist I
over again, which means you don't have have yet to meet it. We are in the business
to get into a panic when you discover that of entertaining by cheating and I doubt
you have run out of rope. No more search- ifthere was ever anything pure about a
ing through odd lengths ofrope to see if cheat. Back to the magnets.
you can find a piece long enough to do the You will need three, and they must be
job that afternoon. Using the same piece glued into the rope quite firmly, and the
of rope over and over again has certain ends of the rope trimmed flush with the
magnet to give a perfectly flat surface which end it is and place this shon piece and pull down on them to bringthem
with clean sharp edges. When two pieces on the end ofthe long piece so that it down a little lower in the loop, as shown
ofrope containing magnets are brought looks like one piece ofrope. in Fig. 4. Do not bring them all the way to
together, the join should barely be dis- the bottom, which will flatten out the bot-
cernible, bearing in mind that neither TheHandling tom ofthe loop and look unnatural. Keep
the method, nor effect, comes under the Display the rope by pulling it between the them on the side ofthe loop,just above
heading of close-up magic. hands as in Fig. r. The right hand is hold- the bottom.
The set up for the magnets is that you ing the magnets. The right hand places Your audience should never be aware
have a three-foot length ofrope with a the shorter piece of rope across the longer that all ofthe above has taken place,
magnet in each end. When the two ends one as in Fig. z. Look at the illustra- which should take no more than two
are brought together, they should marry tion and note where the magnets are to seconds. All the illustrations show the
up. Ifthe magnets repel each other, you've understand what follows. You are going to performers viewpoint. To the audience, a1l
done it wrong. In addition, you have a change over the positions of the magnet you should appear to have done is bring
six-inch length of rope with one magnet on the short piece with the magnet on the the two ends ofthe rope up together in
in one end, and the other end should be long piece, the one at the top ofthe illus- the left hand and the right hand appar-
sealed to prevent it fraying and, to save tration, Iooping the short rope under the ently straightens the rope out a little.
you the trouble ofputtingyour brain long rope at the same time. By doing this, You are now in a position to cut the
to work, I will point out that this third the two magnets in the long piece will be rope. Take scissors in the right hand and
magnet will only marry up with one of brought together and stick to each other, open the blades. Insert both blades into
the magnets in the longer rope. Find out see Fig.3. Take hold of these two magnets the centre ofthe loop ofrope which is
hanging down. T\vo things happen simul- as in Fig. 7 drops this loop over the two
taneously. You snap the scissors shut and ends on display above the left hand which
drop the right hand down so that the scis- brings you to the position shown in Fig. 8,
sors hit the bottom ofthe loop ofrope, which is actually a slipknot with the short
causingthe magnets to separate. Ifyou do piece inserted through it. Draw this knot
this action quite smartly it is an optically a little tighter and with the left hand take
perfect illusion that the scissors have hold of the rope end which is hanging
cut the rope, especially ifthe scissors are over the left wrist, allowing the rest of
pointing slightly downwards as you do it. the rope to hang down from the left hand
Look at Fig. 5. This is the position you with the knot at its centre.
are in now. Note that one rope end is To affect the restoration, the right hand
longer than the other. This position guar- takes hold ofthe bottom end ofthe rope
antees that the magnets are kept apart. As and brings it up to the knot, taking hold
you are about to tie a knot in the rope, a of the magnetic end of the short piece in will disappear. It should all be done in
funher guarantee to prevent the magnets the same hand. This will bring the two one shary pull. The right hand can now
coming together is to toss the shorter end magnets together, Fig. 9. Raise the left release it s hold, and the short rope will
over the left wrist to keep it out ofthe hand slightlyand pull down sharplywith be left hanging at the bottom end ofthe
way. Fig.6. the right hand. This will pull the short long rope. Nothing to dispose ofand
The right hand now takes hold ofthe piece out ofthe slipknot and as the right nothing left to do except acknowledge the
other rope and, making a loop exactly hand continues downwards the slipknot applause which should rightlybe mine.
The ffrst 6me I came across this effect The three ropes are now taken in the days many of them required very large
was when I saw a performance of Murray left hand, with the loop concealed in the equipment, with secret trapdoors among
the illusionist. I was a fairly raw beginner, hand and the three upper ends above the other things. There have been mind read-
but as I had already purchased Edward hand as before, but this time with the ing effects, sleight ofhand effects, and
Victor's Cut and Restored rope routine I single rope to the right. The bottom end Lord knows what else. What I would like
was able to work out the handling, which of the single rope is brought up over the to showyou now is another type of effect,
was more or less what Tom Osbourne had back ofthe hand, and this end is held in an optical illusion".
published and marketed. place by the left thumb against the tip of At this point the ropes are brought into
Years later I discovered Cecil Keech's the left forefinger. view, and as you undo the knot holding
CeeKay TriCords, which I thought was a The bottom end ofthe long rope which them together, you point out that:
better, cleaner, effect. What I am about to contains the magnet is now brought up "There are three ropes, One, Two,
describe is based on the CeeKay routine and placed end-on to the magnet at the Three; but ifwe loop up the ropes one at
but uses one pair of magnets instead of top of the single rope, and both maSrets a time into the left hand, I think you will
two pairs of press studs. are pushed downwards slightly into the agree that it looks as if it is one long piece
This is one of the few effects in this hand and out of sight. Ifyou have a prob- ofrope coiled around the left hand. Now
book for which I will grve you a script. I Iem with which of those bottom ends is although we know they are three separate
think that this script is important, in that the one with the magrret, just slide your ropes, they actually look as ifthey are one
the first part is logical and the second part fingers and thumb down both ropes and long rope. That is an optical illusion.
is, hopefully, a surprise. The script will when you get to the bottom you can feel "But occasionally, illusion becomes
come after the explanation. which one has the magnet and that's the realiry, like now".
To convince the audience that all three one you bring up. The ropes are released to fall down as
pieces of rope are separate, you have to The remaining endwhich is hanging one rope. Effect over.
resort to displaying all three ropes, ap- down is now brought up and over the
parently one at a time. Manyways have back ofthe left hand and placed into the You should always use white or bright
been devised to do just this, but all I can thumb crotch ofthe left hand, alongside yellow rope for better visibility, and
do here is show you the method I use. I the end of the small piece nearest to it. always make sure they are clean. There
have no idea where I picked up this move Both ends of these ropes are now gripped is another effect which uses exactly the
or who devised it; it certainlywasn't me, tightly in the left thumb crotch. same set up as this one, and, probably
although I think it is so good and simple At this point, you hold the left hand because it is easy to do, it has become
that I wish it had been. high, still with the back of the hand to the very popular, but what I can't understand
The right hand takes hold ofa bottom audience and, keeping a grip on those two is that some ofthem appear to have been
end ofthe long rope, and, raising this end ends in the thumb crotch, open all your using the same rope for decades. It is no
up and to the right, so the rope is being fingers out. The ropes will drop down and, longer white, but a horrible grey colour,
held horizontally between both hands, because ofthe magnets, appear to be one and unclean.
gives it a gentle tug to display it as you long piece ofrope. The back ofthe hand Many years ago I learnt a tip from the
say, "One". The right hand, still holding is still towards the audience with the long late Billy McComb, and that was to keep
the end ofthe rope, is brought across rope hanging over the back ofthe hand each effect in a clear plastic Ziplock-type
to meet the left hand, but just before it and down to the floor and the short piece bag. When you have finished your show
meets the left hand, it releases its hold on with one end in the thumb crotch and the each item goes back into its bag. Don't
the rope and takes a grip on both ropes at other end hanging down from the palm wait until you get home. This is how I
the point where they are looped, taking side ofthe hand, and appearing to be the travel the Three to One Rope T?ick, and
both ropes offto the right, as you say upper end ofthe one long rope. I always tie the knot before I put them in
"Two". It looks as ifyou have shown both the bag. That way I don't have to reset it
ropes separately. The remaining rope in The Scnipt before a show. I just take it out of the bag
the Ieft hand is given a slight shake as you "There have been many different types and stick it in my pocket.
say "Three". ofmagic effects over the years. In the old

MISCELLANEOUS 2O3
Yes, it's anothen cut and restored rope ends of the small loop. The three remain- grip one end ofthe loop piece, and the
trick with just a little difference. The ing ends in the left hand will be similar. genuine end ofthe long length ofrope,
effect is that a length of rope is cut into Both hands are now separated, stretching and pinch them together. The hand now
three pieces. Suddenly all three pieces what appears to be three pieces of rope relaxes its gnp on everything else, and the
seem to melt into one long length of rope. between the hands. Care must be taken long rope will drop downwards leaving
All you need is a six-foot length ofrope during this action that the small loops are the short piece pinched at the end ofthe
and a pair of scissors. The initial handling not exposed to view. long rope. Ifthese actions are duplicated
of the rope and the cut are similar to the The situation now is that you have one by the other hand, you will finish up, as
standard method which this writer first Iong piece ofrope doubled back twice already described, with one long piece
learned from the Edward Victor routine. with a loop of rope in each hand depict- ofrope hanging down in an arc between
The rope is looped up into the left hand ing the supposed ends. You are now going both hands and a short piece clipped at
in the standard fashion. to perform a more or less standard rope both ends.
Now take that long length which is restoration where the short piece is held The effect is now over, but should
hanging down, about halfiray, and bring at one end of the long, restored piece, but you wish to carry on using the rope for
it up and repeat the first action as in the you are going to do it with both hands something else immediately, you need to
Victor move so that you now have two at the same time. What you will finish dispose of those two short ends. Here's
loops to cut, as opposed to one. up with is the long piece held between how. Ttansfer the left end and the short
Both loops are cut so that you now the hands and a short piece held on both piece to the right hand. The long loop is
have five ends showing above the left ends. hanging down from the right hand. The
fingers and one loose end hanging down. Both hands now act in unison. Three left hand takes hold ofboth strands ofthe
The end which is hanging down is brought ends are being held in the thumb crotch rope in a fist and the right hand pulls its
up and placed into the left hand next to of each hand, at the base ofthe first fin- two ends back, sort ofbehind your back,
the two ends on your left. The spectators ger. The remaining three fingers of each drawing the centre ofthe rope up to the
will see six ends protruding above the left hand are now inserted under the longer left hand, At that point the right hand
hand. rope. drops the two short ends into a hat, or
The right hand approaches the left We will describe the action with one a box which is sitting on your table, just
hand and takes hold ofthe three ends on hand only. The other hand duplicates behindyou.
your right. Two of those ends will be the these actions. The forefinger and thumb

204
Many years ago I published a Book of WithaPencil the handkerchiefis no longer there. The
Thumb Ttps, and in there, I tried to present For manyyears, magicians have been bill is now rolled into a tube. As already
afew originalthoughts with this gimmick. vanishing small silk handkerchiefs in described you ro11it around the Thumb
I deliberately tried to auoid all the standard Thumb Tips and reproducing them in Tip so that when you display the tube, the
effects that were, and are still, popular with many different weird and wonderful ways. Thumb Tip containing the handkerchief
magicians. It was a very successful book One very popular version is, after the van- is inside.
and Istill sell it to this day. Because it was ish, to ro11 a bill into a tube, and secretly You now remove a pencil from your
d constant source of income at magicians' around the Thumb Tip, so that you can breast pocket and poke it upwards into
gatherings, I decided to do another one, to be now reproduce the silk handkerchieffrom the tube, quite slowly. The handkerchief
called, uery cleverly Pafi Two. So I started that same tube. I did it for manyyears, emerges, slowly from the top of the tube,
making notes for this project to be, but just and came up with a variation, as follows. and opens outwards, draping over your
never got dround to it. What follows is what The effect is that you display a bill and hand. The pencil is replaced in the pocket,
should have been, and now is,'A Few ldeas hold it berween your lips, as you tuck the the handkerchief is lifted offthe top of
with a Thumb Tip'. Thinking about it, these handkerchief into your fist - actually into the tube and the bill is opened out to
are more than ideas as I haw performed all the Thumb Tip. You steal the Thumb Tip show that everything is clean and above
of themmany times. and reach up to your lips with the same board. If the bill has been borrowed, it is
hand that holds the Thumb Tip. Remove returned to the lender and there is noth-
the bill from your mouth, and wave it over ing to dispose of, secretly or otherwise.
the hand supposedly holding the handker- The how? You will need a small hand-
chief, which is then opened to show that kerchief, a wooden pencil, and a thumb
 downwards, from the tube, and places it, spectators. The left hand is now raised
i
t along with the Thumb Tip, in your pocket. to your left, at arm's length. This hand is
You are now "clean", and in a position open with all fingers and thumb spread
.. to remove the handkerchief, unroll the apart. The Ieft hand is now slowly formed
;
bill and return it to from whence it came. into a fist. The right hand reaches across
I and with the thumb and forefinger, pulls
TheThumb Tip a handkerchieffrom the bottom ofthe
as a PnoducingAgent left fist.
Most performers think of the Thumb Tip The Thumb Tip, already loaded with a
as an accessory to aid them in vanishing handkerchief, is on the right thumb. The
f some small object. It can also be used to
make something appear, magically. Drape
right thumb enters the left fist, which
grips the Thumb Tip. The thumb pulls the
tip with a hole drilled through it right at a pocket handkerchief over the left fist. handkerchiefdown and out ofthe Thumb
the tip of the thumb (pig. r).The hole The right thumb is poked down into the Tip. The right forefinger assists in this ac-
should be large enough to allow the pencil fist pushing the handkerchief down with tion as soon as the tip ofthe handkerchief
to be pushed into it easily. The vanish of it, and creating a small well. clears the Thumb Tip.
the handkerchiefis as normal procedure, The left hand is now turned sideways The same effect can be produced with
in that it is tucked into the Thumb Tip, and a number of small coins pour out the aid of a glamorous assistant. In this
then stolen out again. But it is in the ac- from the well. This is simply a case of instance you would vanish the handker-
tion of tucking the handkerchief into the preloading the Thumb Tip with a number chieffirst, and as a method ofreproduc-
thumb tip that we stray from the norm. of coins. When the thumb is pushed down ing it, do the following.
With the thumb tip in the left fist, place into the handkerchief to form a well, the Your assistant is to your left. Having
the handkerchief over the left fist so that Thumb Tip is Ieft behind, being gripped vanished the handkerchief, which is now
the centre ofthe handkerchiefis over through the handkerchiefby the closed in the Thumb Tip on your right thumb,
the Thumb Tip. Push the centre of the left fist. you turn to face the assistant. She raises
handkerchief down into the Thumb Tip, her right hand, fingers wide apart, palm
creating a well. Now take all four corners Fonthe Platform Act towards the audience. She slowly closes
of the handkerchief, one at a time, bring Show the right hand empty by pointing the hand into a fist. You now reach up
them into the centre, and push them all four fingers and thumb towards the and produce the handkerchieffrom the
down into the well. Once you have done bottom of her fist. She immediately efts,
this, continue feeding the handkerchief with the Thumb Tip.
from the outer edges into the Thumb Tip, If the Thumb Tip is on the left thumb,
until you are in a position to steal it out, and the Ieft hand is formed into a fist,
which you do. Don't worry about the hole with the thumb inside the fist, the thumb
in the Thumb Tip. Just make sure that can be lifted out of the Thumb Tip leaving
you don't point that end of the Thumb it inside the closed left fist. Ifyou now
Tip at the spectators. turn the hand over so that the mouth of
Remove the bill from between your the Thumb Tip is to the floor, anything
lips and wave it over the hand that is inside the Thumb Tip will fall out. For
supposed to contain the handkerchief, stage or platform work the hand can be
then open the hand to showthat the shown empty by pointing all four fingers
bill has gone. You now roll the bill into and thumb at the audience
a tube, around the Thumb Tip, leaving The hand is now closed into a fist,
the Thumb Tip inside the tube. Remove turned over and the production made.
the pencil from your breast pocket and What can you produce? How about a
push the pencil upwards into the tube, diamante bracelet? A gold chain? The
and into the hole in the Thumb Tip. Do magic shops are selling a long narrow
it slowly and gently and the handkerchief silk streamer especially for use with a
will emerge from the top of the tube, Thumb Tip. Fix one end of the streamer
open out, flower fashion, on top ofthe into the Thumb Tip and attach a small
tube (Fig. z), and drape itself around the weight to the other end. Tuck all of it
hand holdingthe tube (Fig. :).The action into the Thumb Tip, with the weight last.
is very slow to prevent the handkerchief Show the hand empry close it into a fist,
falling offthe top of the fist. turn the hand over and the streamer will
At that moment you relax your grip appear.
on the tube slightly, and the Thumb Tip, How about this? Give the hand an up-
which was being held through the bill, ward shake and the streamer will appear
will slide down the pencil into your hand, out ofthe top ofyour fist. The heavier the
which immediately withdraws the pencil, weight the faster the appearance.
Smallen h'Smallen
This is a diminishing-type effect for kid
shows. We've had diminishing milk, cards,
coins, watches, and Lord knows what else.
In this instance it is a diminishing silk
handkerchief. Apart from the basic idea
of something getting smaller and smaller,
which any experienced performer will tell
you is an extremely commercial prem-
ise, the main virtue of this routine is its
simplicity, both in method and the props
used.
You will need three silk handkerchiefs:
one r8 inches square, one twelve inches
square, and one approximately three or
four inches square. You will also need a
Thumb Tip.
There is one sleight of hand move
involved, and that is to vanish a silk hand-
kerchiefby rolling it up berween both
palms, and apparently taking it in the left your pocket. But this time the right hand video tapes had become a popular method
hand when in fact you have it in the right picks up the Thumb Tip with the tiny of teaching magic, and I had made a few
hand. The move has been published many handkerchief inside it. teaching tapes myself. I still think Video
times, and if you don't know it, check Once again the children will let you or its successor, DVD, is the perfect way
Rice's EnEclopaedia of Silk Magic, or one of knowwhat they think. Again you deny it. for magicians to communicate new ideas,
the many other books on silk magic. At this moment the left hand is held out routines, developments, whatever, to
Let's get down to the routine. Explain to your Ieft in a closed fist, back ofthe others. What I don't think is a good idea,
that you are going to make a handkerchief hand to the audience, thumb nearest the in this day and age, are encyclopaedic
disappear. floor. The right hand reaches up to the 1eft teaching tapes, where every single method
You display the largest ofyour three hand, and the right thumb and Thumb Tip of doing one particular type of magic, or
handkerchiefs, and ro11 it up between the are inserted into the left fist and a part effect, is laid bare, for all to see, in the
palms and it is stolen in the right hand, of the small handkerchief is pulled out hands of one person.
which immediately reaches into the right into view, with the thumb tip retained in Yes, you may call me old fashioned,
jacket pocket. the left fist. The right hand drops to your because I am old fashioned, but ifwe are
As you point out to the children that side. The left hand, with the corner of the going to progress, and at the moment I
the handkerchiefis in the Ieft hand, they handkerchief sticking out from the top of am not sure that anything is progressing
will soon 1et you know that you have the fist, is brought forward to a position in the entertainment industry in the UK
placed it into your pocket. Naturallyyou in front ofyour body. at present, we should be concentrating
deny it and show that the handkerchief You say, "Let's start again", and as you on encouraging some form of originality,
is still in the Ieft hand. What happened say this, the right hand pulls the small and I am not sure that some guy dem-
is that the first handkerchief really was handkerchief into fulI view, clear of the onstrating that he can do the fingerflip
placed into the pocket and the right left hand. Again you look bewildered. three hundred different ways is the route
hand secretly picked up the rwelve-inch Tuck the small handkerchief into the top to take. There are those who will say that
handkerchiefand brought it up to the of the left fist and steal it out again inside you can only be original ifyou already
left hand. As the two hands were opened the Thumb Tip in the traditional man- knowwhat is in existence, and those
outwards they could see the handkerchief ner. Hold the right hand up to show it is DVDs will provide that information, but
and naturally assumed that it was the empry and say, "Look, I'm not slipping they are missing a very important point
same one. At this moment, because both it into my pocket", and as you say this the learning process.
-
handkerchiefs are ofthe same colour, they the right hand is placed into the pocket To be good, to get good, requires some-
are not aware that this is not the same disposing of the Thumb Tip and comes thing that the DVDs will never, can never,
handkerchief. straight out again. It is now a question of give you, and that is the er<perience of
Offer to show them again. Open out building up some kind of suspense before making a mistake, all byyourself. To make
the handkerchief, showing it between showing the left hand empty and proving sure that you are doing it right, it helps
both hands. It is at this point that both that you really can make a handkerchief to have done it wrong. I know I have said
you and your audience become aware of disappear. this somewhere else, but you don't have
the fact that the handkerchiefhas become to be clever to be original, and the phrase,
smaller. Once again you roll up the Suddenl5r someflring happened to "out of the mouths of babes", etc. comes
handkerchief between the palms and, as the magic world, or maybe I should say, to mind.
before, you steal it away and place it into the magic business. For some fewyears, All you need is a little imagination.
Betty Davenpoft and Pat behind the counter at DavenPorts Magic Shop.
The neason fon the rather unusual magic dealers, and have had a number tion of something that has gone before.
heading to the following group of effects of effects marketed, both by them and So let me make it clear right now that
is that is exactly what they have been to by myself. Many of them have been everything you are going to read in this
me. I have attended magic conventions copied by other dealers without permis- section reallywas created by me and, in
all over the world and wherever I went I sion-that's life. I'm not complaining, probably every case, used edsting meth-
usually did a lecture of some sort and, in and I don't really care if they don't put ods and principles. I will try and explain
addition to the almost obligatory lecture my name to it, because they probably how they came about, or how I came to
notes, I always took a few items for sale. don't know who originated it, or putting think of the idea. It is more than likely
Occasionally, I would have more than a my name to it would be an admission of that some of them were in existence long
few items for sale, and I would be given a guilt; but it does annoy me when they put before I got to them but, in all honesty, I
dealer's booth from which to demonstrate someone else's name to it. There have can only think of one instance where that
and sell. been a couple of occasions when someone happened, although I remember someone
I have been doing just that for so many has seen me do something and a fewyears coming back from an Australian magic
years that I have diffrculty in remember- later reinvented it, assuming they had convention, and telling me that an Austra-
ing when and where I started selling what. come up with it themselves. That hap- lian magic dealer hated my guts. I never
I will try and give an approximate date, pens; I have done it myself, and I am sure found out why. Maybe he thinks I stole
from which you will gather I don't keep it will happen again. one of his tricks. Maybe I did; I've had lots
records of such things. I was just happy Many magicians are quite protective of of my material stolen - but hate?
to take the money. Over the years I have their creations, in many cases unjustifi-
worked for, and with, several different ably so, especially if it is a simple varia-

pBALrn's DELTGHTS 277

This trick was uery) popular and successful Tlre Routlne blank on both sides. With this system, all
when it was first irwrnted, so much so that it "Hello! You're never going to believe this, you've got to do is this (holds up packet
was copiedby magiciarc and dealers all owr but in the old days you used to get guys ofblank paper, strokes it, they turn into
the uorld. You can go into almost any magic in the street market with a little machine. bank notes (Figs. 2,3)) and you've got
shop inEurope andbuy alersion. Many He'd put a piece of blank paper in, turn yourself real money-real genuine money.
people altered it and twisted it around. Prob- the handle, and what came out the other How about thatl You don't believe it?
ably the most successful version was that of side? A one-pound note. But that's old- (Show banknotes front and back.) All
Fred Kaps, which he published in his lecture fashioned. What we do now is to do it genuinely printed on both sides (Fig. 4).
notes and that's the one that most magicians by the thought process. I've got a whole Fantastic, isn't it. But, Iike the little man
do. But this is the original Patrick Page ter- bunch ofblank bits ofpaper here (Fig. r), in the olden days in the street market, it's
sion and I like it better.

ztz peelrn's DEl.rcrrrs

all an illusion. (Change bills back to blank banknote-size pieces ofpaper, I use five. tom flaps ofthe blank paper to the face
paper (Figs. 5, 6).) Because all we have, In addition, we require five bills. I use imi- of the bill underneath. A glue stick works
before your very eyes, is a whole bunch of tation $2o bills-five of those. You also well for this. Now coat the top faces
blank bits of paper. (Show pieces of blank require a gimmick. It's made from two of the blank paper with glue and stick
paper on both sides (Figs. 7 8).) Amazing, bills and two blank pieces ofpaper. Take them to the underside ofthe second bill,
isn't it?" one ofthe bills and place it on the table, which you place on top, its face pointing
face up. Fold the two pieces of paper in upward. When everything is dry crease
Method half and place them with their folds meet- the bills as you open out the blank pieces
What you need are a whole bunch of ing in the centre of the bill. Glue the bot- of paper, and you have the gimmick. Make

oralrn's DELTGHTs zt3

sure no edges of the bills show when the half and creased. The gimmick is held perform it, I keep one ofthe blank pieces
blank paper is on display, and vice versa. with a blank piece ofpaper on top and of paper on the bottom of the gimmick
That's it! (Finished gimmick shown in everything else folded underneath, with (Fig. zo) so I can count offand showfour
Figs.9-13.) a bill under that top layer. The real bills blank pieces ofpaper, then I take the
This gimmick can be made to look like are inserted under that top flap (Figs. t7 gimmick in my right hand, then show the
either a blank piece of paper on both sides rB), facing you when the gimmick is held other blank piece of paper that was on the
(Fig. ra) or, ifyou allowthe flaps to drop with a short side facing the audience. The bottom, and replace it on top (Fig. zt). To
(Fig. r5), it looks like a bill on both sides five pieces of paper are placed on top of affect the change, fold everything in half
(Fig. 16). The five real bills are folded in the gimmick (Fig. t9). Actually, when I (Fig. zz),bring it in front of you (Fig. z3),

zr4 osnr.en's DELTGHTS

DEALER,S DELIGHTS 275
unfold the front flap of the gimmick (Figs. iton top, hiding the gimmick underneath
24, z5) andfold it all the way around to (Fig. 3r), and show them on both sides
the back (Fig. z6), turning it with the fold (Fig. 3z). Fold them all in half toward you
facing the audience (Fig. z7). (Fig. 33), bring the bundle up in front of
You are then in position to unfold all you (Fig. 34), and do the same thing as
the bills (Figs. 28, z9). before-unfolding the front panel (Fig.
Take the top bill and place it on the 35,36),folding it around to the back (Fig.
bottom (Fig. 3o); then you can count all 37), placing the package in your hand with
the bills, taking the final one and placing the fold facing forward (Fig. 3B), unfold

276 opnlER's DELIGHTS

DEALER,S DELIGHTS 277
the bundle (Figs. 39,4o) and you can then I couldn't make it work. Actually, Finn can be used-just trim the paper accord-
show five blank pieces of paper on both Jon of Norway came up with exactly that ingly. Another variation is using lottery
sides (Figs. 4r,42). effect and made it work very well. Lots tickets which can be trimmed to fit a bank
When I came up with this effect I of magicians have taken clippings out note and then you can convert the lottery
used to perform the Nudist Deck, and I ofmagazines or used petrol (gasoline) tickets instantly into money.
replaced it with this trick. That's why I coupons instead ofblank pieces ofpaper.
started with blank pieces of paper which Many magicians including Billy McComb,
changed to money. I tried several different Colin Rose and Michael Bailey have used
methods, including Rough and Smooth this method. Any denomination of money
since I had been using a Nudist Deck, but

zr8 orelrn's DELTcHTS

 o

Thb really was the uery first effect I had In those days, no one that I knew of and the spectator(s) are invited to point
marketed. At the time I was working as a was using the principle for a Three Card to the picture card. The face-down card
demonstratorfor one Dick Chauel, who had a Monte-type effect. One of the effects we they point to is turned face up to show
small booth in an arcade in London's O$ord sold on a daily basis was an old street that it is a spot card. The remaining face-
Street. I started working for him in March magician's three card trick which had down card is turned over and is shown to
'54, and came up with this idea probably been around longer than anyone could be a spot card also. The picture card has
around a year later. At that time I was into remember, and which we sold under the vanished
performing Edward Proudlock's Four Ace title Find The Lady. We used to sell it for The performer explains that while they
Routine with Jumbo cards, and it was from one shilling, and as soon as I demonstrat- weren't looking he slipped the picture
that effect that I came up with One in the ed One in the Middle to Dick, he realised card into his pocket, and exchanged it for
Middle. that we could sell it to everyone who had a spot card. As he explains this he places
ever bought Find The Lady, and we did, one ofthe spot cards into his pocket and
for half a crown, which was two and a half brings forth the picture card from the
times the price. same pocket. The effect is now repeated,
after which the explanation is repeated,
Efrect by placing the spot card into the pocket
Three cards are shown to be two spot and bringing forth the picture card as
cards and one picture card. The picture before. All three cards are left on the table
card and one spot card are turned face to be examined by the spectators if they
down, the three cards are mixed around, so wish. (Continued...)

orer.en's DELTcHTS ztg

Method Routine bring forth the genuine picture card, and
Four cards are used: TWo identical spot Show the three cards, and square them drop it alongside the two sPot cards on
cards, one picture card, and one double- up with the picture card uppermost. Now the table.
faced card which matches the picture card Double Lift the top two cards and turn Wel1, that's it. My f,rst marketed trick.

on one side and the two spot cards on them face down on top of the remaining I had an arrangement with Dick Chavel
the other side. The only sleight used is a card, explaining that you are going to turn that I would receive threepence for every
Double Lift the picture card face down so it will be one we sold, but after a few weeks the
easy for them to follow. Spread the three arrangement was forgotten, although the
SetUp cards to showthat the top card is the only effect continued to be sold long after I left
The genuine picture card is in your right one face down. The picture card is now his employnent a couple of years later. I
jacket pocket. The other three cards are on the underside of the middle card. Point still see it advertised occasionally in deal-
displayed showing rwo spot cards and the out that it is an easy matter to follow the ers'lists, but without my name.
double-faced card with the picture side picture card because it is the only one I have continued to use the effect
showing face down (?). So, just to confuse them, mysetf, occasionally, and have marketed
you will turn one ofthe spot cards face other versions ofthe effect. The first
down, and as this is said, your turn the variation didn't have a name; I just sold it
remaining genuine spot card face down. at conventions with an instruction sheet
The position now is that you have two explaining what was what. It used three
spot cards face down and the spot side of Jumbo cards, two black spot cards and
the double-faced card showing face up' one red, and I used it in my platform act
You now mix the cards around and when for a long time. The routine was as in the
you stop you invite them to point to the original without the switch of the card.
picture card. They will point to a face The red spot card just vanished, and I
down card, which you now turn face uP, explained that while theyweren't looking
to show they are wrong. You explain that I slipped it into my pocket, and as I said
if they had bet money on the other face- this I would bring forth the card from my
down card they would have lost on that inside jacket pocket, but it was the wrong
one too, as you turn it face up to show card. After this was pointed out to me, I
that you now have three sPot cards. made the card change to the correct card.
You now take the double-faced card, I used the well-known Jumbo Moving Pip
spot side up, of course, and explain that Card to achieve the change.
while they weren't looking you slipped the Still later, I produced another version
picture card into your pocket and brought in Jumbo size. Again the same idea - the
the spot card out. As you are explaining picture card vanished and I brought it
this, you place the double-faced card into from my pocket and again, it was the
your right pocket, turn it over, and bring wrong card, and as before it changed to
it out again. the correct card. In this version, which
You now repeat the whole thing, after I called One In The Middle Plus, I used
which you repeat the explanation of a version of the Ever Changing Card

changing the cards and as you are making [explained in Chapter r in the trick Jumbo
this point you place the double faced-card One in the Middlel, which is a picture
into your pocket and, leaving it there, you card that will change from a King to a

22o osel,en's DELTGHTS

Queen by turning it over. I added a bit to card with thumb and forefinger, opposite the left fingers push the rear card down
the original concept ofthis changing card the left fingers, and turns it face up, plac- and the right fingers take hold of this
by adding the corner indices, a different ing it on the table. Don't puli it away from card behind the card they are holding and
one at each end. In fact, I took two old the packet, just turn it over and place it turns themboth overto showthe faces
principles, the Ever Changing Card and on the table. ofboth cards in a two-card spread. The
the Double Ended Card, and put them You are now going to apparently repeat remaining card in the left hand is now
together to create a more effective image the action with the second card, but in turned over in the left hand to show that
at the climax. fact, although your hands and fingers all three cards are alike and apparently
I described the manufacture ofthese duplicate the actions used with the first unprepared, back and front.
cards in a book called Pages From Patrick's card, what really happens is that the fore-
Note Book, published by Martin Breese finger and thumb of the right hand grip
in r99o. Although these changing cards the bottom card ofthe two held in the left
go back a long way, everyone seems to hand, and turn it over, then place it on
have mislaid the information that it was the table. What you are actually doing is
Oswald Williams of Maskellme's The- a Bottom Deal, but as there are only two
atre fame who was the one responsible cards it is impossible to spot. As before,
for turning them into a very practical you must not pull the bottom card away
giant-size Three Card Monte, now being from the other card. Just take hold of it
manufactured in plastic and sold by all and turn it over. It is optically perfect.
and sundry. The last card is now turned over, repeat-
Let's get back to One in the Middle. ing the same action. This is the move
Having messed around with it for all that the writer used when performing the
those years in many forms, including Jumbo Four Ace trick.
several versions for TV for other perform- There is another move which dupli-
ers, I have made a few discoveries about cates the effect ofthe last one, but is
it - in fact, a couple of moves that are very particularly suitabie for Jumbo cards in a
useful for other effects where a double- stand-up situation when there is no table.
faced or double-backed card is used. The set up is the same as before, with
Both moves are designed to dispel any the double-facer on the bottom ofthe
thought oftrick cards being used. After packet and the other cards face down. In
performing the effect, you apparently this instance the left thumb is part way
show all three cards back and front, and across the back ofthe top card. The left
the display can be done with normal size fingers are behind the cards. The right
cards or Jumbos. hand approaches and takes hold ofthe
The two normal cards are face down top card and draws it downwards a little,
with the double-faced card under them. away from the other two cards, and turns
The packet ofthree cards is held with the it over to show the face.
left thumb and forefinger, halfivay along Still holding the first card, the right
one ofthe long edges. The cards should hand approaches the left hand, and places
be tilted downwards slightly so that the the first card in front ofthe cards in the
other long edge is nearer the table. The Ieft hand, but spread slightly downwards
right hand approaches and takes the top in a sort of two-card fan. At that moment

oe-elrn's DELTGHTS z2a

 o

2009
This is a very simple and surprising hand. The right fingers remove the card Tell them you are now going to count
change of a jumbo card. Six cards are from the bottom ofthe packet and bring the cards from the top down and as you
used, five of them in sequence, Ace - z - 3 it up to show the face ofthe card to the say this you start to count the cards off
- 4 - 5, plus one extra card which is ofthe spectators as it is named aloud, "The the top ofthe packet with your right hand
same value as the highest card but of a Five". This card is placed face down oftop and place them on the table face down,
different suit and colour. ofthe packet in the Ieft hand. one on top ofthe other.
The cards are arranged as follows. Start The right fingers now remove the next As you do this you are counting aloud,
with the highest card and place it face card from the bottom ofthe packet in the " One, Two, Three", but as you say "Four,"
down on the table, followed by the next Ieft hand, show it to the spectators and the left thumb pushes two cards together,
highest card and so on, until you have a1l it, too, is named aloud, "The Four", as it as one, and places them face down on
five cards of the same suit face down on is placed face down on top ofthe cards in the others as you look at the spectators
the table. You now place the remaining the left hand. and say, "Ald this one?", as you raise the
high card face down on top ofthis packet. This is repeated with the Three, the left hand holding the remaining card, and
That is your preparation. T\wo, and finally the Ace. theywill immediately say, 'Five".
Make sure the spectators do not see the At which point you smile and turn over
ToPenform card which is now at the bottom ofthe the Five, revealing the fact that it is a dif-
Tell your spectators that you are going to packet, as this card is of a different suit ferent suit and colour.
show them an observation test with five and colour.
cards Remember you are still holding the
Hold the cards face down in the left cards face down in the left hand.

zzz Ds4,Len's DELTGHTS

Back in the early nineteen-fifties I used inside the closed hand. This can be done the ribbon and tassels are hanging down
to attend the Unique Magic Club in Lon- with the back of the hand uppermost or from the outsides ofthe fists. Slide the
don. It was run by Harry Stanley, at that not. It is intended to show that it is noth- right fist towards the left fist and cover
time a leading British magic dealer. An ing more than a piece or ribbon with a the knot. The right fingers keep a grip on
elder$ gentleman named Alf Hannick was tassel at either end. the ribbon and the left hand pulls slightly
also a member, and one week Mr Hannick, The right hand takes hold ofthe centre on it. The slip-knot in the ribbon will
which was always how I addressed him, ofthe ribbon from above, covering the dissolve inside the right fist, which moves
did a cut and restored ribbon effect which loop, with the two tassel ends hanging back to its original position. No time must
I liked. It was more or less standard, down. The left hand forms a fist around be wasted. The right hand moves in, and
but I liked the ending where the hands the centre ofthe ribbon and the loop, and out again immediately, to show that the
were held high, three feet apart, with the the right fingers lift the loop up a little knot is no longer there. Do not pull on
ribbon stretched between them and the and free ofthe left fist. You now appar- the ribbon and allow the knot to dissolve
ends ofthe ribbon hanging down over ently cut the centre of the ribbon, but visibly.
the thumbs. A few years later I added that in fact cut the small loop of ribbon. This The impression you should be trying to
image as the ending to a cut and restored will bring you to the classic position of a create at this point is that the knot is still
ribbon effect with the above title. The standard Cut and Restored Rope, where concealed in the right fist. Now slowly
method is quite different. The reason for you have a small piece looped under a slide the two hands apart and as you do
the title is that I used a length ofgolden long piece. so, slowly open them, until you have a
coloured ribbon. It was designed to be You are now apparently going to tie the cleanly displayed ribbon hanging over two
performed for children and at the time two ends ofthe ribbon together, but what thumbs, with a tassel hanging down from
I had some awful story about a fairy you actually do is form a halfhitch and each end (Fig. z).
princess. drop it over the two cut ends and draw
As you already know the effect we will it tight. This is exactly the same action
get straight to the preparation. You will as described in the Everlasting Cut and
need a length ofgold coloured ribbon, Restored Rope, detailed in this book [in
one inch wide, and around four feet long. Chapter 51.
Attached to each end ofthe ribbon is a The result is that there is a small piece
gold tassel, three or four inches long. of ribbon, with two ends showing, trapped
From a handling point ofview, the heavier in a slip-knot at the centre ofthe ribbon.
the tassels are, the better. As you will see You nowtrim the ends ofthe knot (?).
later, the weight will help in the display of In fact you trim away all of what was the
the ribbon at the restoration. In addition loop of ribbon, pulling the last piece out
you need a small ring of ribbon. This is by gripping it between the blades of the
just a few inches of ribbon with the two scissors. You will be left with a small knot
ends overlapping and glued together to at the centre ofthe ribbon. Although no
form a loop. One ofthe tassels is threaded ends are showing, it will look perfectly
through the loop which is drawn up to the normal due to the peculiariry of ribbon
centre of the ribbon (rig. D. If you close tapering down when tied in a knot.
your hand into a fist around the loop, you Now for the restoration. Take hold
will be able to draw the ribbon back and of the ribbon in two closed fists, one on
forth through your fist, retaining the loop either side of the knot. The remainder of

oueLen's DELTGHTS zz3

This efrect is based on a Rope and The rope is threaded through the ring
Ring move that was shown to me many (Figs. r and z) and both are held in the
years ago by Tony Anverdi of Holland. I left hand with the rope extending through
believed then, and still do, that he was the the first and secondfingers (Fig.3). It
originator of the move. It is an optically is important to note that the left fingers
perfect illusion. I have to explain this are actually gripping the rope as well as
move to enable you to understand the the ring, and that it is not just hanging
Cord-a-Cup effect later. You will need a there. No more than six inches of the rope
ring three or four inches in diameter and should be hanging down on the side ofthe
three feet of cord or rope. hand nearest the performer.

zz4 oerlen's DELTcHTS

 The right hand approaches the Ieft more or less equal at the bottom. During ings. I only went there occasionally. There
hand and takes up exactly the same posi- this action, the left thumb drags the rope was a short period when Eric Mason was
tion on the opposite side ofthe ring, but free from the ring. The right hand should heavily into releasing a beer mug from a
resting on (overlapping) the back ofthe be raised slightly, holding the loop ofthe rope which had been threaded through
left hand (Figs.4, and 5). Looking at the rope against the ring, and the performer's its handle, and he came up with several
performer's view, the ring is gripped in concentration should be at the bottom different methods. Still a few more years
the right-hand thumb crotch as well as in ends ofthe rope (Fig. 9). Iater, I was looking for something to sell
the left hand (Fig. 6). The Ieft hand now The spectators should be unaware of at a magic convention, and I remembered
moves downwards, dragging the rope with the fact that the ring is no longer thread- what Eric had been experimenting with.
it (Figs. 7 and 8), until the two ends are ed onto the rope. The left hand now lifts My first thought was the Anverdi
the ring upwards from the top of the right move-just thread the cord through the
hand, free ofthe rope. handle of the beer mug as if it were a ring.
Okay. That's the Anverdi move, which I tried it and it worked perfectly. But I had
I have been using with grateful thanks to nothing to sell. It was just a move, and it
the originator for manyyears. We now wasn't even mine. Eventually I thought
jump forward a few years, to the Marlbor- of a gimmick which would enable me to
ough Arms-a pub in central London near delay the action. Within minutes of think-
the old headquarters of The Magic Circle. ing of this gimmick I had made one up
Many ofthe guys used to go there, both and tried it and it worked the first time.
before and after The Magic Circle meet- It is the perfect bar or party trick, but as

osru-rn's DELIGHTS zz5

 13

a teetotaller, I decided to use a teacup and, because it is nylon, it will start to

rather than a beer mug, hence the title, melt and seal the end of the cord. Don't
Cord-A-Cup. get your fingers too near. Ifthey touch it,
I used a length ofbraided nylon cord it wiil stick to the fingers and you'll get a
which had a core that could be pulled out. burnt fingertip. Don't get the flame too
It is a standard-type cord and comes in near to the cord either. All you want to
several thicknesses. The length of cord do is melt the end of the cord, not set it
you use actually depends on your size. alight. You prepare both the long cord and
I am rather shorr and I used a four-foot the ends of the gimmick in this fashion.
length. In addition, we have the gim- Don't be tempted to make the gimmick
mick, which is a piece of coat hanger wire too small. It should be at least two inches
formed into a letter S shape (Fig. to) from top to bottom, and if that feels awk-
about 3-inches long. The gimmick is cov- ward, make a slightly larger one.
ered in the same nylon cord. This is done
by pulling the core from a piece ofthe Etrect
cord and threading the gimmick into the You thread a length ofcord through the
cord. The ends of the cord will become all handle of a teacup, holding both ends in
frayed after cutting, and this is taken care your left hand. Toss the cup over your
of by the flame of a cigarette lighter. Just left shoulder so that it is hanging at your
wave the end of the cord over the flame back. You separate the two ends ofthe

zz6 oBnr,sn's DELTcHTs

 of cord nearest to you over the bottom
of the S gimmick (the lower hook of the
S is conveniently facing toward you), and
then takes hold ofthe handle ofthe cup,
which the right hand releases. The right
hand travels down and takes hold ofboth
strands of the cord, at which point it pulls
downwards on the cord, making sure that
it is now hooked over the bottom halfof
the S gimmick (Figs. r3, r4, r5 and 16).
You now throw the teacup over your
left shoulder and immediately separate
the two strands ofthe cord, one in each
hand, and lift the one in the right hand
over the head and onto the right shoul-
der. You are nowhome and dry. The dirty
work is done.
Have someone hold the ends of the
cord, one in each hand. You reach behind
you and lift the teacup offthe S gimmick,
with one hand and the S gimmick itself off
the cord with the other hand. Bring the
teacup forward and hand it to anyone.
From experience I can tell you that
theywill be more interested in the cord
than in the cup, so what I do in most in-
stances is drop the gimmick into the cup
behind my back and bring the cup forward
at an angle so they cannot see inside it,
but they can see there is nothing in my
hands. At that point they will usually lift
the cord up and over your head, and that
is when you turn the cup mouth down
from one hand to the other and pass it to
someone, keeping the gimmick in your
hand.

cord and lift one end over your head from the floor. In transferring it to the left hand
the left shoulder to the right shoulder. you hook the S gimmick onto the handle
You should now be holding the two ends in a forward fashion (Fig. n, left hand
ofthe cords, one in each hand, at about removed for clarity). The top point of the
shoulder height and the teacup is hang- S should be pointing away from you.
ing, suspended on the cord, at about the What follows is difficult to explain, and
centre ofyour back. it is going to involve a few movements
Now ask someone who is standing in ofthe hands, but the whole thing takes
front ofyou to hold the ends ofthe cord. no more than three seconds. First, what
When they have done this, you reach be- you do is the Anverdi move with the cord
hind your back with both hands, and after through the handle ofthe teacup, and
a moment, you bring forth the teacup, pretend to yourself that the S gimmick
which is now free ofthe cord. Ifdesired, isn't there. It is no way near as visible
everything can nowbe examined. as with a large ring, but as it only takes
You already know the method, so a moment, no one will realise that fact.
let's explain the handling. You have the Thread the cord up through the handle.
gimmick in your left hand. Borrow a When you have done the move you will be
cup, which you hold horizontally in your in the position shown in Fig rz. The cup
right hand, but not by the handle, which is free ofthe cord, which is held next to
should be on the side ofthe cup nearest the handle. The left hand lifts the strand

opelen's DEr.rcrrrs zzj

 Back Roughed
.5I
7984

Effect held in a fan in the left hand. cards - Jack on the table, King under the
T\uo sets offour of a kind are shown, the Now pair the cards up according to packet - until you have apparently three
Kings and Jacks (Fig. t). suits, similar to the illustration and make Jacks on the table. The next card on top
The four Jacks are placed face down on sure that the Heart suit is always to the of the packet is a Jack. Again you miscall
the table, which leaves the four Kings in left ofthe fan, so that when the cards are it a King and place it under the packet. At
the hand. closed up and turned f'ace down the two this point you pause and check that there
When the four Kings are turned face Heart cards are on top ofthe packet. are three Jacks on the table. You do this
up they are seen to have changed to the Explain that the cards are now King, by spreading the cards on the table apart,
Jacks. When the Jacks on the table are Jack, King, Jack from the top down. still face down.
turned face up they are seen to have Push the top card to the left with the left The next card on top ofthe packet is
changed to the Kings. thumb and you will find that both top the paired Kingpack. Casually flip this
cards will move as one. Place this card card(s) face up to confirm that it is the
Method face down on the bottom ofthe packet fourth Jack. Now turn it face down and
Required are the four Jacks and four and call it a King. separate the top card (the King) and place
Kings. The face of the King of Hearts and The next card on top ofthe packet will it face down on the table with the first
the back ofthe Jack ofHearts have been be a King, but you miscall it a Jack and three cards. Ask the spectator which cards
treated with Roughing Fluid. When you place it face down on the table. The next are on the table and he will say Jacks.
first display the cards, the Kings and Jacks card is a Jack but you miscall it a King Turn them face up to show the Kings and
should be separate, the Jacks to the left and place it on the bottom ofthe packet. turn the cards in your hand over to show
and the Kings to the right, ifthe cards are This is repeated with the remaining the Jacks.

zz3 opet.en's DELTcETS

Tltls is a mini version of Dai Vernon's Redbacks at near any companies since that have their own
Brainwave Deck, which accounts for zD 3D 4D 5D 6D 7D 8D 9D roD AD cards.
the title. Having said that, I must point Let's get back to the principle ofthe
out that the effect is different from the Blue baeks at fuont rear card being one up in value from the
original in that there are no reversed AD zD 3D 4D 5D 6D 7D 8D 9D roD one in front. Like I said, I had never come
cards, and, although it uses the Rough and across the principle before. That's what
Smooth principle and the cards are paired Ifthe cards are prepared in pairs, as I said, but I was wrong. I had but I didn't
off, it also involves an idea that I am quite shown, with roughing liquid in the normal know it, because I never really under-
sure I originated all by myself. There have manner, you will have what appears to stood it when I read it. The principle was
been other versions marketed since then be a packet often cards numbered Ace described in a book, MagicalWays and
but, I swear to God, I had never come to Ten. The faces ofthe red cards and Meansby N Baker. It was several years af-
across the principle until I thought of it. I the backs ofthe blue cards are roughed. ter I started to market "Brainchild", when
will come back to that later. The card on the back of each pair is one I was rereading the Baker book, that I
up in value from the front card. When discovered it. The reason it didn't register
Effect someone names a number, you cut the on any of the many occasions I browsed
A spectator is shown ten cards, all ofthe packet bringing that number to the face, through that book over the years was that
same suit, which are arranged in sequence and lift it offby separating it from the one it used names and not playing cards, and
from Ace to Ten from the face ofthe behind, placing it face up on the table. By I am sure that I just skipped through it
packet. He is asked to name a number doing this, you expose the card behind most of the time. I do know that I didn't
from one to ten. When he does so, the it, which is the correct value. E.g., if you quite understand it the very first time I
cards are cut at that point bringing that place a Four on the table it will leave a read it, which probably accounts for the
number to the face ofthe packet. That Five at the face ofthe packet, which is as skipping in later years.
card is picked offthe face of the packet it should be. I still don't know why he used names.
and placed on the table, face up. You can now turn the packet over to Ace to Ten is a logical sequence, and if
The packet ofcards are now turned show that they have red backs. The fact you see a Six, you e)q)ect, even without
face down and spread to show that they that you are actually showing the backs realising it, to see a Seven under it when
have red backs. The face-up card on the of ten cards instead of nine will never be it is removed. You can do it with a word.
table is turned face down to reveal that it noticed. All they see are red backs, and as Take five cards that spell rvr e c r c. If you
is the only card with a blue back. soon as you have made that point, turn bring one ofthose letters to the front and
the tabled card face down to reveal a blue remove it, they will know which letter
Method back. should be underneath it-but a different
Trwenty cards are required, which are two T\uice, I have done this with cards name on every card? I am in the forefront
duplicate sets ofAce to Ten cards, all of that were supplied by the company I was ofAl Baker fans, and I have actually been
the same suit. One set has blue backs and working for, with their logo on the backs performing one of his routines practically
the other red backs. They are arranged in of all the cards. all my magical life, and I am pretty certain
pairs as in the normal R & S deck prin- One was an airline, the other was a I have read everything he ever wrote, but I
ciple, but in a particular way. All the blue bank. I did think later that I should have still can't understand why he didn't adapt
backs are at the face of each pair, and all used standard Bicycle Cards or something this principle to playing cards. Maybe, like
the red backs are at the rear of each pair. like them, with the selected card only, most of us at times, he just didn't want to
Starting with the first pair, they are paired having the logo, but to date I haven't done do another card trick.
up, from the face ofthe packet, as foliows. it that way because I haven't worked for

DeeI-en's DELTcHTS 2zg

 Potrick Poge's
1985

Efiect top card on to the table face down and

Both the performer and spectator select the second card face up on top ofit. Take
a card. The cards are seen to be a match- hold ofboth cards and turn them over on
ing pair, e.g. two red Sevens, or two black the table. Again they match up.
Fives. This can be repeated as often as
you like, with variations in the handling. The Mufttpte Renelation
The performer can select his card This effect is best presented to at least
before the spectatot which makes it a three spectators. Fan the deck towards a
prediction, or afterwards, which makes it spectator and ask him to point to a card.
either a revelation or a coincidence effect
according to how it is presented. CARDS Outjog this and hold the fanned deck in
the left hand. The right hand transfers
the outjogged card to the top ofthe deck.
Method Square the deck up and pick offthe top
The deck is a Rough and Smooth deck, from the deck. The left hand holds the single card, placing it face down in front
with each pair of cards being a matching deck and the right hand removes the two of the spectator. The matching card is sit-
pair as already described. When the cards cards from the front ofthe deck, places ting on top ofthe deck. Leave it there.
are spread they cling together in pairs. them on top ofthe deck and squares the Ask a second spectator to Point to a
The deck can be shuffled genuinelywith cards. card and repeat the actions as before,
an Overhand Shuffle and the cards will What the spectator doesn't know is placing the top single card on the table
remain together in pairs. that the two cards, yours and his, are two face down before the second spectator.
pairs of cards. If you now pick offthe top, This is repeated with a third and fourth
Hanrllhg single card from the top ofthe deck and spectator. The final result is that they
Holding the deck in the Ieft hand, the place it on the table face up, the next card each have a card face down on the table
left thumb starts pushing cards offto the which is sitting on top of the deck will be before them and you have the four match-
right into the right hand. After perhaps the matching card. Take this second card ing cards on top ofthe deck.
six cards, the left thumb pushes one card and place it face down on top ofthe face- T\rrn the deck face up and give it an
forward so that it jogs out from the deck. up card on the table. Explain about coin- overhand shuffle but keep the four cards
In fact, this is a roughed pair of cards. cidence, etc. then turn the face-down card on top. Ttrrn the deck face down and deal
The left thumb continues to push cards face up and he will see that they match. the top four cards face up on top of the
over from the left hand to the right hand Avariation is to get two PeoPle, a spectators cards in reverse order, e.g.
and, as this is happening, the spectator is husband and wife, to point to two cards. last spectator first. Now turn the pairs of
invited to point to one of the cards. When Those cards are outjogged and brought cards over and theywill see four matching
he does so, this card is also outjogged to the top as already explained. Deal the pairs of cards.

z1o opnLen's DELTcHTS

Tlrls is a card effect that has been packet ofcards from those in your hand. that it actually goes on the bottom ofthe
around for manyyears, and I have come As soon as he does so your right hand packet, which you square up in your left
up with a variation. In the original effect takes the cards from him, and turning to hand.
the performer never knew which cards your left, you hand those cards to another You now turn to the spectator on your
the spectators had selected until they spectator. You now hand the remainder left and repeat the actions, asking him
actually placed the cards on the table. ofthe cards to the first spectator on your to remember the card that sits at his
In this version, the performer is the one right. number's position. You will finish up with
who looks through the cards and places At this stage you point out that no one all sixteen cards in a face down pile on
them face down on the table BEFORE the can possibly know how many cards each the table. We must explain at this point
spectators name their cards. spectator holds. In fact, you do know how that all of the previous actions we have
The cards used are eightjumbo cards many cards they are holding. When you described will result in both spectators
which have been cut in half, making six- took the small packet of cards from the looking at exactly the same card, although
teen "cards" in all. Although the suits are first spectator and passed them to the they are not aware on this fact. Because
random, the cards are in sequence. Ifyou second spectator, you simply glanced at you glimpsed the bottom card of that first
count the Joker as "one", the rest follow the bottom card of that packet. If it was packet to be cut, the one with five cards,
in sequence up to eight, followed by an a five, then you know there are five cards you know that the spectator on your left
identical set. The cards are arranged is in that packet. You must remember this has looked at what is now the fifth card
sequence from the top down, one to eight, number. up from the bottom ofthe pile ofcards on
one to eight. You now instruct both spectators to the table.
The spectators do not know that the count how many cards they have, but You now pick up the cards and turning
cards are in sequence. To show the cards, not to let you or anyone else know the them face up you spread them and point
hold the packet face down in the left number - but they must not forget their out that no one can possibly know which
hand, and lift a few cards ofthe packet number. When they have done this you cards they have in their minds, but you
with the right hand turning them face up ask one or the other to put both packets are going to try to read their minds. You
to show the face of a half card. Replace together and give them a good mix up. now raise the cards to an upright position
these few cards back on top ofthe packet When this has been done you take back between your hands so neither spectator
and lift offa few more cards. In other the cards. Explain to the spectator on can see them. Pull out the fifth card from
words cut offa slightly larger packet and your right that you are going to show him the bottom ofthe packet, and place it face
turn them face up to show the face of all the cards in the packet one at a time down on the table, then look for the other
another half card, as you explain that they and he is to remember the card at his half that matches it and place that along-
are a bunch of cards that have been cut in number. side the first half, also face down.
half. Square the cards up, face down in the You hold the packet of cards face down Ask both spectators to name the card
left hand. in the left hand and take the top card in they looked at, and feign surprise that
You are now going to instruct two your right hand and hold it up to show the they have both looked at the same card,
spectators to perform a series of actions face ofthe card to the spectator, then lay then turn over the two halfcards on the
with the cards which will result in both of it face down on the table. This is repeated table to show that you really did read
them selecting the same card, or rather with all the cards in the packet, each card their minds.
half card, making one complete card. being placed on top ofthe one before it
You are holding the cards face down until the last card which is shown like the
in your left hand. T\rrn to a spectator on others before - but instead of placing it
your right and, holdingyour left hand on top ofthe others you use it to scoop
towards him, ask him to cut offa small up the previous cards from the table, so

oenl-sn's DELTGHTS 237

1996

I hope 5rou aren't too disappointed, but

this is trick. The sole purpose of
a card
creating it was to sell it, but it turned out
to have a bonus-it was a great trick for
use in corporate events.

Efiect
A card vanishes and reappears on the face
ofa previously shown blank faced card.

Method
Four cards are used in the effect (fig. D.
These consist of:

. Two blank faced cards.

. One normal card.
. One blank backed card with matching
face to normal card.
. In the illustrations a Joker is shown,
but this could be any card.

232 DEAIER's DELTcHTS

Setup Inom tfre Bottom Card Up: fbPenfonrn also blank.
One face-down blank-backed card. Double lift the top two cards to show a Now turn the first card, which was
TWo face-down blank-faced cards. blank-faced card. Turn them face down placed aside, face up to show it is the
One face-down normal card. and place the top card aside, face down. Joker.
Fig. z shows the setup, but the cards Turn the packet face up and spread the
should be squared so the blank-backed cards to show one card at the face fol-
card at the face ofthe packet does not lowed by two blank-faced cards (Fig. 3).
show. Now square them up.
Double lift the top card and turn it
(them) face down.
Spread the three cards to show two
blank faces and one back (Fig. a). Turn
the bottom blank-faced card face down
(pig. S). Now mix the three cards around
and ask a spectator which ofthe face-
down cards is the Joker. No matter which
card they choose, you turn it face up to
show a blank. You turn the second face-
down card face up to show that this is

orelER's DELrcHrs 233

 r
o

What I have described in Part One of Ifyou place the double-faced card sec- fingers. The right fingers apply upward
this trick is one more variation of One in ond from the bottom ofthe packet with- pressure to this card and bring it up with
the Middle. The reason I devised it was out any other alteration, you will find that the first card to show two similar faces.
that I had a lot ofblank backed Jokers, so you can perform the Elmsley Count, four The remaining card held in the left hand
it was just a case of getting some blank as four, and all four cards will appear to be is now turned face up to show that the
faced cards and ordinary Jokers ofwhich face down. The double-faced card will not Queen is no Ionger there.
I had hundreds and I was in business show up. Added to this is the fact that the In short, you are holding three cards in
again with a new trick to sell. A long time four cards will now be in the correct posi- the left hand, and the right hand Iifts up
later, I realised that it would look just as tion to proceed as in Part One, e.g. with and shows, first one card then two cards,
good with ordinary cards and after playing the double-faced card on the bottom and and finally, the left hand turns over the
around with it a while I reverted to the the normal Queen on the top. third card.
original plot of One in the Middle which One more discovery was that after the
was a Three Card Monte effect, so the use Queen has vanished, you are now holding SecondMethod
of a Queen became almost mandatory. three cards, all Kings. Ifyou square the The three cards are held face down with
And that is exactly what we have now, a three cards up with the double-faced card the double-faced card at the bottom, with
Three Card Monte with four cards. One of on top, there is a way to show all three a King at the face. The left thumb and
the cards is shown, and placed aside face cards faces and backs. Actually there are forefinger are, as in the first method, mid-
down. This card ultimately changes to the two ways to achieve this, so I am afraid way down one long edge, but the opposite
Queen. It is a completely self contained it's a case of take your pick. The writer long edge is nearest to the spectators. The
packet trick. Since those early days I have prefers the first method, but uses the right fingers and thumb take the top card
made a few discoveries in the handling second method in other effects. and tum it face up and place it on the
and a couple ofvery deceptive moves. In table. This action is apparently duplicated
Double Mirage Part One we had blank Finst Method with the second, card, but in fact the
faced and one blank backed card. In Part T\rrn the packet of three cards over so forefinger and thumb ofthe right hand
T\wo we have two normal Kings, one that the double faced card is at the bot- grip the bottom ofthe two cards being
normal Queen, and one double faced card tom ofthe packet. Hold all three cards held in the left hand and turn it over and
which has a Queen on one side and a King face down with the left forefinger and place it on top ofthe first tabled card. The
which matches the other Kings, on the thumb midway down the long edge of remaining card is turned over and placed
other side. the card. The right thumb and fingers on top ofthe first two cards.
The set up is as before but may look take hold ofthe top card opposite the left What you are doing really, is both a
different because you now have faces thumb and remove it, lifting it upwards, Second and a Bottom Deal but with only
instead ofblanks. Place the double-faced turning it face towards the spectators, two cards, which makes the whole action
card on the table with the Queen face and back to the performer. The right hand simplicity itself. Just make sure that you
down, on top of this place the two Kings now moves down as if to lift offthe sec- don't actually pull the bottom card out
face down and finally the Queen also face ond card, and in doing so, the card held from under the top card. Just grip it and
down. With the cards in this set up you in the right fingers is almost replaced on turn it over instantly.
can perform the effect as described in top of the two cards held in the left hand. One last point. Although this effect was
part one, but as already mentioned a few In this position it is a simple matter for originally devised with normal size cards,
details have changed over the years. the left fingers to push the bottom ofthe it really looks great, in close-up, with
My friend Max Blake made the follow- two cards they are holding (remember, jumbo cards.
ing suggestion which is perfect for this this is the double-faced card) to the right,
effect. partially under the card held in the right

234 DEALER's DELTcHTS

Effect are the faces ofthe other two identical bringing the single card to the face, and
Three cards all the same are shown. A cards. The double-faced card is untreated. as you square them up get a little finger
fourth card of a different value is inserted The three similar cards plus one of break under the top card.
into the spread and when the cards are the others are held in the left hand. The Bring forth the double-faced card with
re-spread, the odd card has vanished. The double-faced card plus one ofthe others the correct (odd) side showing and place
effect is now repeated, are placed into the right pocket. Spread it on top ofthe packet. Turn the top two
Offering to repeat it one more time, the the four cards in the left hand, insen cards over as one and spread the cards.
odd card is inserted into the spread face the odd card into the spread behind the Theywill see three similar cards plus one
down. When the cards are re-spread the centre card, and square the cards up. face-down card.
face-down card is still there, but when it When the cards are re-spread, the odd Insert the face-down card anywhere in
is turned face up it has changed to match card will cling to the back of the centre the spread. Square the cards up and re-
the remaining three cards. card and will seem to have vanished. Offer spread them and the face-down card will
to repeat it. still be seen.
Metlrod Bring the next card from your pocket, Turn this card face up and it will be
Required are six cards. Three ofthe cards leaving the Double Facer in the pocket. seen to match the remaining three cards.
are of a similar value, two cards are of an- Insert the second card into the spreadbe-
other value and one is a double-faced card hind the first card and square everything
which matches both the previous cards. up. Again, when the cards are re-spread
The backs of the first three identical the odd card will seem to have vanished.
cards are treated with Roughing Fluid, as Now reverse the order ofthe cards,

prAlEn's DELTcHTS 235

2005

Efrect
A silk flag is vanished, and reappears in
a previously shown empry small purse.
This flag is placed aside and the purse is
once more shown to be empty. A child is
now asked to wave his/her fingers over
the purse, and when the purse is opened
the performer produces another flag. This
is repeated several times.

Required
Thumb Tip Holder,5 Thumb Tips, Coin Pneparation a hat or a box which is within easy reach
Purse,5 miniature flags (or silks), hat Place a small silk flag inside the small onyourtable (rig.:).
Gie.D. purse, and place a Thumb Tip into the
purse on top ofthe flag (Fig. z). You have Perlonmance
four other Thumb Tips, and each one Pick up the small purse, open it, and with
must contain a small flag. These four the forefinger and thumb reach into the
Thumb Tips are held in four holes which purse, the thumb going into the Thumb
are drilled into a wooden block, and this Tip to bring forth the flag (Fig. 4). We will
Thumb Tip holder is placed out of sight in assume that the Thumb Tip is on your

236 opllpn's DELTcHTS

 hand empty. The purse is now picked right hand takes the flag and, secretly, the
up, opened, and the right forefinger Thumb Tip and places them into the hat.
and thumb reach into the purse. At that Once you have done this, the right hand
point, the left fingers grip the Thumb Tip picks up one of the Thumb Tips from the
through the thickness ofthe purse, and holder in the hat, by inserting the right
the flag is pulled out ofthe purse, leaving thumb.
the Thumb Tip inside (pig.S).That is the The child is now asked to close the
f,rst part of the performance. What you purse and wave her fingers over it. You
are now about to do is produce more flags take the purse, open it and, reaching in
from within the purse. with the forefinger and thumb, you pro-
right thumb at this point, and you are Here's how: As you pull the flag from duce the flag, leaving the Thumb Tip in
holding the flag between the thumb and the purse, you lift it upwards into the the purse, as before.
forefinger. air to display it (Fig. 5), and as you do You can now repeat all the actions to
The left hand turns to show the purse this, the right thumb is placed into the produce another flag, and another, and
is now empty, closes it and either places it purse, AND into the Thumb Tip (Fig. 7). another, and still one more.
on the table or on a child's hand. The flag The flag is now placed into the left hand,
is now vanished in the traditional manner and the purse is taken and handed to a
by tucking the flag into the Thumb Tip child, who is asked to look inside it. As
and stealing it out before showing the the child is looking into the purse, your

pB.e.LEn'sDELTcHTS 237
7984

Efiect patterns in a folded newspaper? Ask them reproductions of newspaper pages. The
A folded newspaper has pieces snipped to remember when they were children first piece is a ring, u-inches across and
away from it. Eventually the remainder and they folded up paper and cut pieces rwo-inches wide, leaving a 6-inch hole in
is unfolded and turns out to be a hat from it and then unfolded the paper and the centre. The second piece is actually
made from newspaper. Easy to do. Ready had a fancy table cloth or other similar made from two strips of the same printed
to work. No skill required. Perfect for object. card stock, twelve inches long and five
clowns, M.C.'s, kid shows. As you are talking you are snipping inches wide at one end, tapering to two-
away all of the newspaper until you are and-a-halfinches at the other end. These
Method and Pneparation left with the hat only. Simply unfold the are af8xed together with clear tape at the
The prop is a hat made from stiff card hat and place it on your head. matching ends, forming a band with tape
which is printed to resemble newsprint hinges allowing it to fold flat. (See Figs. t
(Figs. r-5). Take a large double sheet of [Editor's note: The description above is and 3.)
newspaper and fold it up until it is one from Pat's original instruction sheet. Art The band is attached to the ring with
eighth its original size. work for the title and effect were printed two, two-inch long and one-inchwide
The folded hat is now placed within the on the upper half of a sheet of paper strips of the same printed card, folded
folds of the newspaper. which, when folded and inserted in the in half, which are glued to the centre of
packaging ofthe prop, became the label the strips and, after being folded ninety-
Penforrnance for the effect as well. degrees, to the ring (which is the hat
Pick up the folded paper containing the The hat is made from two pieces of brim). The wide strips (the crown of the
hat and ask the audience if they ever cut stiff, plastic-coated card printed with hat) are allowed to flatten out along the

238 oeelrn's DELTeHTS

 fr
il
taped hinges, and the'brim'is folded in
half to produce a flat bundle of what ap-
pears to be newspaper (Fig. +), and this
is folded once more (Fig. z), five-inches
along the narrow end of the strips (along
with the ring to which it is attached) to
make a smaller bundle. This is what was
supplied to the purchaser, and it makes
for a humourous and effective production
item (Fig.5).1

oeelen's DELTcHTS 239

 o

Of all the items that I hate ueated, or think 1 I loved the plot but didn't like the ner, Royal Vale Heath, or one ofthe other
hale created, or ever been involved with one method supplied, and since then, which specialists in mathematical principles has
way or another, this is the one that gave me is around fiftyyears ago, I haven't liked done a lot of research on this, and they
the most satisfaction, and there is d reason. any ofthe subsequent methods that have probably influenced me at the time.
Once upon a time there was an effect which been devised to solve the problem. What Having said all this, I hope you will not
inuolued a number of cards with objects you are about to read doesn't answer the be disappointed to discover that I haven't
printed on them. A spectator had to place an problem either, but it is as close as I have recreated or duplicated the original effect,
object, such as a pocket knife, on the back of been able to get, over a period ofmany but changed it in such a way as to make it
one of the cards and it turned out to match years during which, every two or three easier to perform and, more important for
the word, or picture on the face of tlmt card. years, I would suddenly remember that me at the time, make it a saleable item. It
I have sincefound out that it was called this was a good effect that, so far, didn't still is. As I write I have in front of me an
Synonemental and w as devised by Ed Mellon have a good method. Most of the meth- instruction sheet which is an exact dupli-
of theUSA. ods that have been offered over the years cate of mine, supplied by a magic shop in
involved laying out the cards and then the south ofEngland. In this instance, I'm
having to count along or down a line of pretty sure that the guy selling it bought
cards. the store and inventory from someone
The first version I came up with used else. In this case it is possible that he as-
what I think of as the "Tap It", principle, sumes it is in the public domain.
where each word has one more letter than
the previous word. I think Martin Gard-

z4o orelrn's DELTcHTS

Etrect
A spectator is shown a number ofcards
which have the following words printed
on them, one word on each card.

Nut Eraser Coin Kntfe Stamp Lighter Aspirin Pencil

The cards are spread face down in a fan that goes with bolt. The eraser and coin the cards one at a time and when he says
and the spectator is invited to select one are normal, but the knife should be of the stop, you turn that card over. If it is not
of them, look at it, remember it, replace small pocket type. The stamp is just that, his card, you proceed as already detailed
it in the fan and give the cards a thorough but I actually stuck it on to a small piece earlier, by turning your hand over to show
miing. He is then instructed to deal the ofcardboard, which prevented it getting the object.
cards face down onto a table in ahaphaz- all crumpled up. The cigarette lighter Ifthe card you turn over is his card,
ard fashion, so they are scattered all over and aspirin were as normal, but after a and there is a one in eight chance of it
the table. few tries I used a small bottle of aspirin happening, you have a choice. You can
You then explain that you are going rather than a single tablet. Later, when leave it at that, because you really have
to point to the backs ofthe cards one at the bottles were discontinued, I used, and performed a good effect, or you can now
a time, in no particular order, and the still do, several aspirins sealed in those turn the hand over to show the object
spectator can call out stop at any time, metal foil things. The pencil was a short and say, "I just knew that's the one you
and when he does the card you are point- stub about three inches long. They are were going to pick". Or, you can offer to
ing to at that time will be the spectators all small objects and will fit into a jacket do it again, but in this instance you have
selection. pocket very easily. The important thing to return the object to your pocket and re-
You start pointing to the cards, and here, and it is partly psychological, is that place the wallet on the table, rearranging
eventually the spectator calls "Stop". That if you knowwhich objectyouwant, you the cards back into the NECKSLAP order,
card is turned over and you ask ifthat was just place your hand into your pocket and none of which are impossible, and could
the selected word. When the spectator re- it will almost jump into your hand, be- be well worth it, because the chances of
plies, "No", you turn over the still-point- cause each ofthe objects are ofdifferent pointing to the second selection are rare,
ing hand, and slowly open it to reveal the shape and have a different feel to them. and when he thinks you have got it wrong
actual object named on the card, nestling the second time you do have a kicker,
in the palm ofyour hand. Routlne which actually produces a different effect.
Remove the cards from the plastic wallet A last point. Because there are only
Method and drop the wallet on the table. Have a eight cards involved, it isn't too difficult
The eight cards are stacked in a known card selected while they are face down to figure out which one he has takenjust
order. Ifyou take the first letter from each and, after cutting and peeking the bottom by looking at the position ofthe card he
word as they are displayed above, they card, you will know which card he has. removes from the spread. This can help
will form the word, NECKSLAP. That is Offer him the remainder of the cards in the appearance of complete casualness,
your code word. If someone removes a and ask him to replace his card anywhere because at the moment he removes the
card from the spread, all you have to do in the packet and give the cards a good card you turn your head and offer him
is cut the packet at that point. Ifyou look mixing, after which he is to deal the cards the remainder of the cards for the mixing,
at the bottom card and it is, for instance, face down ir,ahaphazard manner all over so that everything apparently takes place
KNIFE, then you will know that the card the table. As he is doing this you offer not while you are not looking. This is a very
the spectator has removed is STAMP, be- to look, and as you turn away you pick up good magic trick.
cause the letter S follows K in your code the plastic wallet and replace it in your
word. The cards should be kept in some jacket pocket and pick up the object that
sort of plastic wallet or similar. corresponds to his selection, just holding
In addition to the cards, you have all it in your hand.
eight objects that are named on the cards When he has finished dealing the cards,
in your rightjacket pocket. The nut can you turn and explain about the point-
be ofthe vegetable variery or the type ing business. You now start to point to

orelsn's DELTcHTS 241

Thene is a story to this one. I had the children insist that you show them
worked for Dick Chavel as a magical dem- the other side of the picture when it is
onstrator for four years. Eventually, for outside the envelope, and when you turn
reasons that I don't remember, I decided the picture around, the clown is wearing a
to leave. It was 1958 and I had no other spotted blue and white suit (Fig. 4).
job to go to, didn't knowwhat I was go- The picture itselfis actually an enve-
ing to do, had no prospects, no plans, no lope, with the clown in a red and white
money, no nuthin'. I was talking to Tony striped suit on one side. On the other
Corinda, for whom I had devised a few side, the outline of the clown is cut out of
tricks to market, because Dick didn't pay the card, apart from the hands, face, neck
for any ofmy ideas, and Tony said that he ruffle, and the shoes. Stick-on spots are
didn't have any tricks in his studio for the the market for at least ten minutes when now applied in the cut-out space ofthe
entertainment of children, and he did get a magic dealer from Holland, called Cass suit and the hat. This makes it look like a
asked occasionally for such things. Zeikman, marketed it, without permis- white suit with blue spots.
In talking about it, he thought a trick sion. I can remember his emissary buying You also have a large card with green
with a picture of a clown would show up one, among other things, at the first con- and white horizontal stripes on it. When
well on his studio wall, so that's what vention where I demonstrated it. I still this card is inserted into the clown enve-
he got. A trick with a picture of a clown, sell the odd one today. lope, it will make the clown appear to be
called The Chameleon Clown. I did the The effect is similar to Normans' wearing a green and white striped suit.
art work, which was very simple, got the Elusive Rabbits in that it is a turn around The upper end ofthis card projects out
cards printed, and mywife and I used to trick where the climax is an unexpected ofthe clown envelope for an inch or two.
sit at home, cut them up, glue them to- colour change. You show a picture of Note that the lower end of this card is
gether, and I would deliver them to Tony. a clown wearing a red and white verti- slightly tapered, which makes its inser-
For the record, he sold eleven hundred cally striped suit (Fig. r), and place it tion into the envelope easier. You also
of them in ten months, most of them, I into an envelope (Fig. z). As you talk, need, a large brown envelope, into which
think, wholesale, to other magic dealers. I you'secretly' (but, really, obviously) the whole thing will slide in and out of
know Tannen's Magic Shop in New York turn the envelope around and when you easily. It helps if you cut the flap offthis
sold a lot of them. bring the picture from the envelope, the envelope (rig.S).
The deal I had with Tonywas that he clown is seen to be wearing a green and The preparation is simple. You have the
had an exclusive on its distribution, but I white horizontally striped suit (Fig. 3). clown picture inside the brown enve-
retained manufacturing rights. It was on This is repeated once or twice, and finally lope, with the bottom edge ofthe picture

242 psAr-ER's DEr-rclrrs

projecting an inch out ofthe open end has changed back to red and white.
ofthe envelope. Although it is inside the Your audience will insist that there is a
envelope, it should be the red and white green and white picture on the back ofthe
side that should be to the front. red and white one you are holding, and
To perform, you hold the envelope in after suitable by-playyou turn it round to
your left hand. The right hand withdraws show the blue spotted clown suit.
the clown from the envelope in a down- I actually devised the method all by
wards fashion. Do not pull it all the way myself. Some thirryyears later I discov-
out ofthe envelope. The top edge with ered that CliffLount, of Bradford, had
the insert card projecting is still con- marketed exactly the same effect, and
cealed in the envelope. Draw attention method years before I had. Cliff's effect
to the fact that the clown is wearing a was with a picture of a soldier whose up-
red and white suit. Push the picture back per tunic changed colour. It was a small
up into the envelope. T\rrn the envelope prop, not much larger than a postcard, as
around, bringing the green and white side I remember it, whereas mine was much
to the fore, and withdraw the picture as larger and more visual. To Cliff's great
before, showing that his suit has changed credit, and I used to meet him year after
to green and white. year at conventions, he never ever men-
The children will point out quickly tioned it, or the fact that I had possibly
that you have turned the picture around. stolen the idea from him. I picked one up
Completely ignoring what they say, you on his stand at one convention and asked
offer to repeat the effect, and immediately what it was, and I nearly died when he
push the picture back up into the enve- showed me. I knewhe'dbeen selling an
Iope, and turn the envelope round again. effect called Sammy the Soldier for yonks.
The left fingertips now grip the top edge I just never knew what it was. He was
ofthe green and white insert, through kind enough to say that my version was
the envelope, as the right hand pulls the much more practical, and colourfrrl than
clown picture downwards and completely the original. There I was, selling an effect
free ofthe brown envelope. The envelope, that he had devised, and all those years he
containing the green and white card, is never said a word.
tossed aside, while you show that his suit That's class.

ouar.sn's DELTcHTS 243

7984

Efiest Method the banner over to show the other side

The effect of the Invisible Chicken is a The banner is constructed of a piece of the egg will be drawn up out of the hat
continuous and baffiing production of opaque cloth attached to two rods. An again and once more hang behind it.
eggs from a small black banner. It is capa- egg (blown) is attached to it by athread The effect can be repeated as often as
ble of many presentations and is particu- and
(see Fig. r). Place the egg inside a hat you wish
Iar\ suitable for children's entertainers, lay the banner on the table in front of In revolving the banner always keep the
clowns, and family show entertainers. it. Show the banner by holding the two bottom edge below the brim of the hat to
At the climax, all the eggs which suppofting rods and separating the hands prevent the egg from being seen as it is
have been produced can be vanished or as far as theywill go (Fig. z). Nowturn lifted out ofthe hat.
changed to something else. The banner the banner over to show the other side Always use a hat or box with a dark
can be shown on both sides at any time following the direction of the arrow in interior so that the thread will not show
during the performance, and still the eggs Fig. z and the egg will be drawn up, outof against it.
continue to flow. This is an old, old effect the hat, and hang behind the banner (Fig.
which I have reworked, making it one r again).
hundred per cent practical, and very easy Fold the banner in half and hold the
to do. two rods as in Fig. 3, and give the banner
a wiggle. Now open the banner as in Fig. 4
and they will see an egg lying on the ban-
ner. Tip the banner up so that the egg will
roll offit and into the hat. If you now turn

244 os.A,r.pn'sDELTcHTS
Addltlonal ldeas ofthem has hatched out", and at that mo-
After producing quantity ofeggs you
a ment you pull a scrawny (rubber) chicken
can vanish them by showing the hat from the hat.
empty. You can have a number oftoybaby
Ifyou already have a number of eggs in chicks in the hat and produce them as if
the hat you can prove that you really did all the eggs had hatched out.
produce them, by pulling them out of the
hat.
After producing a quantity ofchicken
eggs from the banner you can change
them into chocolate eggs all wrapped in
silver foil. You simply have them in the
hat to begin with.
You can, ofcourse, change the eggs
into anything you wish, by placing the
object in the hat before you begin, such as
candies, sweets, etc.
A good idea is to start pulling the eggs
out ofthe hat and, at one point, you stop,
Iook into the hat and say, "Ohl Look! One

oTALER's DELTcHTS z4S

I can"t nealfy remember if the above top end of the tube, lifts the tube upwards surface ofthe tube is covered in glass
title is correct, but it sounds right. This and offthe candle, which is seen to be the paper (sandpaper).
was another effect that I dreamed up for right way up, with the flame still burning As the left hand slowly lifts the tube
Tony Corinda, and it fooled many magi- at the top. upwards, the right hand tilts the candle
cians the first time I demonstrated it at a little and draws it downwards, striking
a convention. What helped fool them Method the match against the inner surface of the
was the fact that it was so ine>rpensive. The candle is made of wood. I used tube. You have to be aware which way the
Viewing the effect for the first time, the pieces ofbroom handles painted white. match head is pointing, but a small mark
average magician would say, "It's a battery Stuck into a hole in the top ofthe candle on the candle will help in that respect.
operated candle", and that is what a lot of is a piece of a match stick, without the There is one more thing I have to tell
them did say at the time, until they saw coloured bit that lights. This is what you you about this effect. The moment you
the price. It was fifteen shillings (Eo.Z), light in the first instance, and that piece strike the match head, you will get a puff
and even they realised that it couldn't be of match stick will burn long enough for of smoke shooting out ofthe top ofthe
manufactured for that price. our requirements. The audience assumes tube, which is a bit of a giveaway. This
it is the candle wick. problem is solved by cupping the left
Efrect At the other end ofthe candle is hand completely over the end of the tube
Holding a candle in his left hand, the another piece of a match stick, represent- as you raise it upwards. Ifyou keep the
performer lights it with his right hand. ing another wick. Alongside this piece of hand in that position, the smoke will stay
The right hand now picks up a tube, match stick is a short piece of quite thin in the tube long enough for you to accept
perhaps rwo inches in diameter, the same aluminium tube inserted into the top of what is coming to you in the way of ap-
length as the candle, and he looks through the candle at an angle, pointing away from plause, before you discard it.
it, at both ends. He places the tube over the match stick. Into this tube, you jam
the candle and lowers it down to the left the upper half of a wooden match stick,
fingers, which push the candle up a little, the end that lights, showing outside that
so that the flame is clearly visible at the little tube.
top end ofthe tube. What happens is that when that match
The left hand pulls the candle down head is lit, and the candie held at a slight
a fraction so that the flame is no longer angle, the flame from the match head will
visible. The right palm is now placed over light the other one. The problem was how
the top end ofthe tube, and the tube is in- to light the match head inside the tube,
verted. The left hand, which is now at the and the answer is that the entire inner

246 oranrn's DELTcHTS

This is still another effect which was de- landed in the saucer audibly. The effect
vised to sell, although I did use it for kid was repeated with each coin, and the sau-
shows on a regular basis. A cloth bag, very cer removed to prove that all four coins
similar to an Egg Bag (Fig. l), was shown had really arrived.
inside and out (Fig. z). A small saucer was This one was also riPPed off, bY the
placed into the bag (rig'A) and the mouth Supreme Magic Company, who supplied
ofthe bag was held closed, in one hand it, minus the coin stand, for a fraction of
(pig. +). The other hand vanished four the price and called it Jam Jar Coins. I
coins, one at a time and theywere heard know where I would like to have jammed
to arrive, one at a time, in the saucer. it. What really rankled, was when some
Let's dispose ofthe vanish ofthe coins guy saw me demonstrate the Money Bag
first. It used a coin stand, the type where and said, "It's a copy ofJam Jar Coins"'
the coins are secretly dropped into the The result of this was that I marketed an
stand itself as they are aPparently picked improved version, at the same price, but
up. This is a standard dealer's item, which minus the coin stand, and called it...
is available from most magic shops. A Clink Coins.
simple vanish to Finger Palm with a toss-
ing motion can also be used (Figs. 5 and
5). The Money Bag had a secret compart-
ment in which the coins were concealed,
not unlike the Egg Bag. There were four
crocodile clips concealed within the se-
cret compartment, each clip holding one
coin (Figs. 7 and 8, which show the clips
and coins concealed in the bag). Simply
by squeezing one ofthe clips, one coin
was released which dropped down and

248 ouelen's DELTGHTS

 o

The efiect and method are almost iden- The cloth is folded up with the coin they are released.
tical to the Money Bag (page left). corner on top. Pick up that corner with
the right fingers as the left fingers grasp ToPer{orm
Efiect the adjacent corner, opening out the cloth Have several coins in one ofyour pockets
A square cloth is displayed byholding to display it between the hands (Fig. z). on the right side. The right hand reaches
it by rwo comers and shaking it out to At this point you give the cloth a shake to into the pocket and removes one and dis-
display that there is nothing concealed emphasise the fact that it doesn't conceal plays it. It is apparently tossed upwards
therein. It is laid out on a table and a anything. Lay the cloth on a table with into the air, but actually Thumb Palmed.
saucer placed in the centre. It is now the coins to the rear, nearest your body The performer's eyes follow its apparent
gathered up and held by its fou.r corners, and draped over the table edge, and place flight - upwards, across, and down to the
in the left hand, forming a sort of bag a saucer in the centre (pig. :). Bring the cloth held in the left hand, at which point
hangrng down from the left fingers. A side corners ofthe cloth together (Figs. your left hand releases one ofthe coins in
small saucer is now placed into the "bag". 4 and 5). The remaining two corners are the comer and it is heard to arrive in the
Four coins are now made to vanish, lifted up, one at a time and placed with saucer.
one at a time, and as each one disappears the others (Fig.5), ensuringthe side The right hand now reaches into the
it to arrive in the saucer. After
is heard with the coins has access to the inside of pocket and brings forth another coin; in
the fourth coin has arrived the saucer is the cloth. If performing without a table, fact, it is the Thumb Palmed coin again.
removed from the cloth to show that it bring the two upper corners ofthe cloth The first action is repeated. The whole
contains four coins. together with the coin corner to the rear, sequence is repeated for the third and
that is, nearest to your body. The remain- fourth coins.
Method ing muo comers are lifted up, one at a time The reason for having several coins in
There are four coins concealed in one and placed to the front ofthe cloth. the pocket to begin with is to allow the
corner ofthe cloth. Each coin is held in a The small saucer is now placed into the spectators to hear them jingle as you re-
clip (Fig. r). A slight squeeze on the upper folds ofthe cloth, at the rear. This ensures move each one from the pocket. It doesn't
end of the clip will release the coin at the that the coins, clipped in the corner, will prove anything, but it lets them know that
other end ofthe clip. have a clear drop into the saucer when you do have more than one coin.

oeel,en's DELTGHTS 249

Thb is a reworking of One in the Middle. lt ffrene wene thnee cards which were cut away. There was a shofter sliding
was not very successful as a dealer item, due roughlyJumbo-card size, but perhaps a panel which was pulled up into view, by
to the poor quality of its manufacture. I was little narrower. Each card had an outline means ofa short loop ofnylon thread.
the manufacturer. I do thinlq howam, that it of a goblet on it. T\ro of the goblets were The loop was at the back ofthe card
is a good ffict, especially for children. empty, the third goblet was almost full and was never seen. The card was held
of orange juice. Exactly as One in the between the thumb at one side and three
Middle, the one containing the orange fingers at the other. This left the forefin-
juice was turned face down, and to help ger free to do the pulling.
confuse them, one of the emptygoblets
was also turned face down. When they
were turned face out again, all three gob-
lets were seen to be empty.
As before, it is explained that while the
audience were not lookin& you slipped
the orange juice into your pocket. You
now reach into your pocket and produce
a card containing a goblet, but it is an
empty goblet. The children will soon
point out this fact. To make it right, you
utter a magic word, and the goblet is seen
to fill up visibly.
The set-up is the same as before. Of
the initial three cards, two are normal,
empty goblet cards, and the third one
is a double-faced card with a full goblet
on one side and an empty goblet on the
other. Check'One in the Middle'earlier
in this chapter for the handling details of
this, as we are more concerned with the
card that fills up.
This card was actually a sort ofenve-
lope card, with the centre of the goblet

z1o oeer.en's DELTcHTS

 o o

I thinh the inspiration for this one came Method this problem is an easy matter. Have the
from two sources. The Chop Cup is one As we have already mentioned the Chop load chamber, full of coins, inside the
of them, obviously. The other is a little- Cup, most readers will be ahead of me cup in an upside down position, with the
known effect, today, by the late Laurie Ire- in at least one respect. It uses a magnet. closed end ofthe load chamber at the
land, of Chicago. The gimmick consisted The magnet is concealed in the base of open end of the cup. It will lie in your
of a brass tube which held a stack of the cup, similar to the original. The load pocket quite comfortably until required.
coins. It was desigrred to enable you to chamber which holds the coins has a disc As you reach into the pocket to remove
steal the coins from under your jacket. I of metal glued to its base, so that after it the cup, hold it towards the rear of the
remember thinking that if you could just is loaded, and when the cup is lifted, it pocket and lift the cup out ofthe pocket,
raise the tube, you could reveal a tall stack will take the load chamber with it, leaving mouth down. The weight of the coins will
of coins. The result of my thinking was the coins behind in a stack on the table. leave the load chamber in the pocket, in
the following. The idea was to display a bill, and in an upright position, ready to steal and
the act of rolling it into a ball you loaded load as required. What this does is ensure
Efiect in a small washer, which would make the that the load chamber is sitting by itself
A cup, not unlike a small dice cup, is bill adhere to the magrret. In the action in your pocket for the shortest possible
shown to be empty. Abill is rolled up into of apparently tipping the bill out of the time, reducing the possibility of Iosing
a ball, and shown that it will drop in and cup into your hand, the bill stuck to the some of the coins.
out ofthe cup freely. The bill is placed magnet and the hand closed as if it held Shortly after this was released in
into the pocket, and the cup is placed the bill. As you apparently place the bill England, Tannen's Magic Shop of New
mouth down on the table. When the cup into the pocket, the cup is replaced on the York put out a version where the bill was
is lifted, the bill is seen to have returned table, releasing the bill. As the cup is lifted folded neatly into a small square, which
under the cup. The bill is placed in the to reveal that the bill has returned, the was held in position with a paper clip. The
pocket once more, and when the cup is load chamber is loaded into the cup, with clip adhered to the magnet, and dispensed
lifted, there is a stack of coins that fills the little finger holding the coins in. Don't with the need to load anything metallic
the cup. At the time this was marketed the worry if one or two coins slip out of the into the bill. Their method of loading the
coins were the old, English, large cop- load chamber while it is in your pocket. It stack of coins was also an improvement.
per pennies, or US halfdollars could be will make no difference to the final effect.
used. The stack consisted of about twenty One minor problem is keeping the
coins, which will give a better idea of the load chamber in an upright position in
size ofthe cup. the pocket prior to the performance, to
prevent losing some of the coins. To solve

peer-BR'sDELrerrrs 251
I liked the plot for this ffict the very first The efiect is that four indifferent cards break held by the little finger. The specta-
time I saw it ah)ertised in a ilealers' cata- are transformed into a Jumbo-size replica tor assumes that you are cuttinS the deck
logue. lt was Jack Hughes'Four Wrongs of a previously selected card. You need at the point he called "stop". In fact, you
Make a Right. four cards which, when arranged together, are cutting the deck above the force card.
What I didn't like was the prop you had will make a Jumbo-size Four, of any suit. The Ieft hand is extended towards the
to use to create the effect. lt worked perfec@ I used blank-faced cards which had the spectator and the top card is offered to be
and was a veqt good comedy magic trick, in Jumbo-size pips printed on them (pig. t). noted and remembered.
which the performer makes afew mistakes GeoffMaltby, of Repro Magic, did them As the card is being noted, the packet
and nentually gets it rigltt, but I have narcr for me on some kind of copying machine, of cards in your right hand is replaced
been too happy about card triclts which have which at the time was something that under the left-hand packet. The spectator
props that actually do the trick for you. Ifs couldn't be done, but he did it. We will is then instructed to insert his card into
not a hard. andfast rule with me, but... . call them the Big Four cards. the centre ofthe deck. The situation now
The set up is that you have the card to is that his card is somewhere in the centre
be forcdd, which is a Four, on top ofthe ofthe deck and the Big Four cards are on
deck, with the Big Four cards underneath top ofthe deck.
it. They are all face down on top ofa face- We are now going to take any four
down deck. You can force that Four any cards and switch them for the Big Four.
way you like, but I always undercut the Here's how. Spread the deck face down
deck to bring the force card to the centre, between your hands and push out any
held a little finger break above it, and did four cards, one at a time and turn them
a Riffie Force, which I suppose I am going face up on the table, making sure that
to have to explain. the force card is not among them. Pick
Hold the deck in the left hand with the up the four face-up cards from the table
little finger break at the back ofthe deck and place them face up on top ofthe
above the force card. The left thumb rif- face-down deck in the left hand. You now
fles the outer left corner ofthe deck and do two things at the same time. You ask
asks a spectator to call out "stop". When the spectator, "Is your card one ofthose
the spectator does so, the left thumb four?" and at the same time your left
stops rifling the cards and holds a gap. thumb spreads the four-face up cards on
The right hand reaches over the deck and top ofthe deck so the spectator gets a
cuts offthe top half of the deck, above the better view of them. What we are really

zsz oralrn's DELTcHTS

doing is setting the cards up for an illegiti- deck and the right fingers and thumb lift
mate use of the Fred Braue Add-on move. off all the cards (five) above the break.
What the spectator doesn't know is The left hand is holding the deck and
that you also spread the Big Four cards, the Ieft thumb now pulls the cards back
which are under the four face-up cards. from the right hand on to the top ofthe
When the spectator confirms that his deck, counting them, "one, two, *rree
card is not there, you square up the four and four". On "four" you deposit the last
face-up cards and the Big Four cards two cards as one on top ofthe deck. The
under them and lift all eight cards off Big Four are now on top ofthe deck. Deal
the top of the deck with the right hand, them out face down in the form ofone
fingers at the front ofthe deck and thumb large card. Ask him to point to any one
at the rear. ofthe four face-down cards and you will
You are now holding the deck in your change it to the selected card. From now
left hand, and apparently four cards (re- on, you turn all four cards face up one at
ally eighQ are in the right hand. The right a time, starting with the card he has indi-
hand approaches the left hand and the left cated, showing a jumbo size four (Fig. z).
thumb pulls the top card of the right-hand Do take the trouble to arrange the Big
packet onto the deck but leaves it project- Four cards properly, so that, at the climax,
ing halfiray offthe deck to the right. The you don't have to start fiddling with the
right hand packet flips this card over face cards, turning them end for end to make a
down on top ofthe deck. proper Jumbo card. When you turn them
This is repeatedwiththe second card, face up, they should form a Jumbo card
which is also flipped face down on top instantly, without any rearranging.
ofthe deck. It is again repeated with the
third card, but as soon as the card is face
down on top ofthe deck, the cards in the
right hand, a face-up card followed by the
face-down Big Four cards, are dropped
on top of it as one card, and the left little
finger maintains a break under them. The
top card is turned face down on top ofthe

oeAlrn's DELTcHTs zS3

I had the ideafor this one a long time before Tlrene was a bit in the middle of the tube,just below the spring. The end of
I euer tried to sell it. What sturted it all was routine where I could swear the handker- this wire is attached to the upper tube, by
seeing a film in the nineteen fifties of Harry chiefhad a life, character, and personality, any method you wish. A ring is now fixed
Blackstone Sr. performing the Danc[ng all of its own. That image has stayed with to the bottom end of the wire and when
Handkerchief. At the time I thought it wds me ever since. Now let's jump forward a that ring is pulled downwards, the upper
one ofthe greatest things I had ever seen. I fewyears. I was doing a club act in every tube will be pulled over at right angles to
had seen others do it before that time, and I other toilet in London and I decided I the lower tube (Figs. t,2,3 and 4).
have seen others do it since, includinghis son, wanted to do a Dancing Handkerchief That is the gimmick, and it is sewn
Harry Jr., who did an excellent job. But for effect, but, as I didn't have an assistant, into the handkerchief. The handkerchief
me, when it comes to the Dancing Handker- it was going to be a one-man effort, and can be picked up by one corner, in the
chief, old man Blackstone is the man. that made it very difficult. I never did get right hand, and allowed to drape itself
around to doing it, but I had a lot of fun downwards. The left hand forms a fist
experimenting with the idea. I had reels, around the handkerchief, and around the
threads, spring-loaded gimmicks, mag- gimmick, and the right hand ties a knot in
nets, timing devices, and heaven knows the corner ofthe handkerchief, above the
what else, and what I finished up with was gimmick, so that the knot is more or less
what I called the Noddy Handkerchief, sitting on top of the gimmick. For expla-
which was my first idea anyvay. In short, nation purposes, if you hold the gimmick
I went all round the houses and finished near the bottom in one hand, through the
up with what I started with. I think it's handkerchief, and pull the ring with the
called happiness in your own back yard or other hand, the knot will be pulled over
somethinS. to one side. That is the effect I wanted to
Myveryfirst ideawas to have aWiiting create, and it worked. In actual perfor-
Flower gimmick in a handkerchief, and mance, the handkerchief and the gimmick
the first time I tried it, it worked. The are held in the right hand by the thumb
illustrations will tell you all. The gim- and first three fingers. The little finger is
mick itself is a thin brass tube, cut in two inserted into the ring and it is this finger
pieces. The t'wo separate pieces are held alone that does the pulling (Fig.S).
together by a coiled spring. A thin wire What I finished up with was a hand-
is threaded up through the lower section kerchief with a knot in it, which behaved
ofthe tube, and out ofan opening in the exactly like a Wilting Flower. In perfor-

254 oualen's DELTcHTS

mance, it was like working with a puppet, up and down as if he is whispering into
and that is exactlyhow I presented it. I yoru ear
tried it on kid shows and for adults, and Ifyou are holding it your left hand in
it worked for both audiences, but I nwer the dovrn positior5 the right hand can
ever got around to working a complete reach over and lift the loot into an up-
routine around it. I should have, because right positior5 and the moment you turn
I think it is capable of developing into your head, it bends over again. This can
something really good. The actions are be repeated.
limite{ but not as limited as one would If the knot is in the down position,
think because, depending on what you are looking at you, the right hand can ap-
saying or doing, the same actions can have proach t}te lanot to take hold of it, and just
different meanings. before the fingers reach the knot, it turns
Let's take a look at the actions them- away and looks in the opposite direction.
selves. If you pr:Il the ring the lorot will You can talk to it and it nods its head in
bend over, but it can bend over in four aSreement, or shakes its head from side
different directions, forward, back, left to side in disagreement. I lnow it's a
and right. The direction is decided by hackneyed phrase, but its possibilities are
rolling the gimmick between the thumb limited only by the performer's imagina-
and fingers. tion.
If the knot is in the down position, it [The prop was constmcted by Colin
canbe made to rotate from side to side, Rose.l
fast or slow, as if it were looking at the
audience. This action can also be used
to have it say no. An up and dovm action
says, yes.
In the half-down position, that is, just
leaning forward, it can turn to look at the
performer when he talks to it, or look
away if he doesn't want to listen.
In the dovm position you can bring him
up to your ear and animate him quickly

DTALER'S DELTGHTs zSS

1958

As I start to write this, I suddenly realise Monte, but with slightly larger than Jum- and bring forth the card which tums out
that this is still one more version of the bo-size cards. T\uo ofthe cards each have to be a top hat card. You advise the audi-
One in the Middle card trick. I think this a top hat printed on them and the third ence to let you know if any ofthem see
one goes back to around 1958. has a rabbit, with a top hat on the other the rabbit, at which point they see the
Way back before then, when no one side. The three cards are displayed as rwo rabbit peek out from behind the card, first
bothered to keep track of time, the well top hats and one rabbit. The cards are to one side, then the other, duringwhich
known British magic dealer, Harry Leat, squared up with the rabbit at the front. the performer is at a loss to understand
marketed what was probably the most You do a double lift and spread the three what all the fuss is about. Eventually the
successful effect ever devised for the cards to show that the rabbit is apparently rabbit is spotted bythe performer and
entertainment of children: Run Rabbit face down-when, in fact it is now on produced from inside the top hat on the
Run. The prop represented a brick wall the rear of one of the top hat cards. You card.
with two doors, one at either end and a now reverse the top hat card without the The method of animating the rabbit
cutout of a rabbit dashed back and forth rabbit so that you apparently have one was a small tack pushed through the rab-
berween them, to the delight of any juve- rabbit face down, one top hat face down, bit. There is a slit cut into the top hat card
nile audience, and eventuallyvanished, to and one top hat face up. When both face- exactly along the line ofthe top edge of
reappear wherever the performer chose. down cards are turned over they are seen the hat. Eventually after by-play, the ears
I used to have it reappear on myback. to be top hats. ofthe rabbit are pushed through the slit
Funny Bunny is a poor man's version of You explain that while no one was and the top halfofthe rabbit is brought
that effect, which I started selling in 1958. looking you slipped the rabbit card back into view.
The plot is simply the Three Card into your case. You reach into your case

256 oEer.en'sDEr.rcrrrs
 e

The HanIry Panlry Cloth is designed can hold the cloth at two corners, with is nothing in the cloth and that you can
to produce or vanish any small object up the pocket at the lower left corner, on the take hold of it anywhere and just give it
to the size of a deck of cards or a packet side ofthe cloth nearest to your body, and a shake. Those rwo upper corners can be
ofcigarettes. Coins, balls, eggs, cigarette give the cloth a vigorous shake (Fig. z). passed back and forth bet'ween the two
lighters, keys, etc. can all be handled in The cloth itself will flap up and down dur- hands several times as you talk.
the wink of an eye. For the record, when I ing this action, and look so clean and fair Bring the two top corners together into
first thought of this idea it was to vanish that no one would ever suspect there was the left hand. The right hand lifts up the
and produce an egg, exactly as in the Egg something hidden in a secret pocket. bottom corner which doesn't contain the
Bag. In fact,for a while I was convinced Having given the cloth a shake as pocket and places it into the left fingers
that as soon as this effect hit the market already described, release the left hand with the first rwo corners. The last corner,
the Egg Bag would become obsolete. Hon- hold ofthe cloth, and take the corner held with the pocket, is now brought up to join
est, I did. This prop can do everything an by the right hand with the left hand. Slide the first three corners and, in that simple
Egg Bag can do and more, and is capable the fingers ofthe right hand downwards action, the ball will roll out of the pocket
of lots ofvariation of effect - well, sort of. until they reach the next corner, which and land in the centre ofthe cloth which
Well, nowyou knowwhat it can do, is now lifted up to the same level as the is now hanging down as a sort ofbag. You
let's explain it. It is a black cloth, around left hand. This action transfers the pocket can now reach into the bag and produce
twenty inches square, with a coloured from the lower left corner to the lower the ball. That is the basic production
border. In one corner ofthe cloth there is right corner. You can now give the cloth effect, but there is another way which
a pocket (Fig. r, next page). Ifyou place a another shake. The object ofthis action would be more suitable for a manipulative
ball into this pocket you will find that you is to convince the spectators that there routine.

ora.lpn's DELTcHTs zsj

 Hold the cloth at two corners. The The opening of the pocket should be at As already stated, almost any reason-
pocket, containing the ball, is at the the corner that is hanging down nearest ably sized object can be vanished or
bottom right hand corner as you, the to your body (Fig. :). produced from the cloth. You can allow a
performer, see it (Fig. zagain). Having You place the ball into the centre of the spectator to reach into the centre ofthe
shaken the cloth, release the left-hand cloth and, apparently gripping it through cloth and find the object. This writer has
hold on its corner and transfer the left the cloth with the Ieft hand, the left hand used it on several occasions to produce a
hand to the upper right corner. The right is turned over, holding the ball through present for a child.
hand fingers slide down the coloured the cloth. In fact what happens is that For anyone performing close up magic,
border to the bottom right corner and the ball is placed into the pocket and the it an ideal way to produce a deck of
is
grip that corner. Several actions are now left hand grabs the centre of the cloth cards. Ifthere is enough roomyou could
combined into one. The left hand releases and turns it over, so that all four corners lay the cloth out on a table and use it as
its corner, and travels down to the pocket. are hanging down from the left hand. a sort of close-up cloth to perform on.
At the same time the right hand is raised, The right hand takes hold ofone ofthe When you have finished you can hand
and the ball will drop out of the pocket corners and the left hand releases its hold the deck to be shuffied during which you
into the waiting left hand. The right hand on the centre of the cloth. The cloth will drape the cloth over your hand. Retriev-
draws the cloth away to the right, offthe drop downwards to be held in the right ing the deck, you can nowvanish it in the
left hand, revealing the ball at the left hand by one corner €ig. +). cloth. After the vanish, fold the cloth up
fingertips. The left hand now takes hold of an neatly. Move on to another location and
To vanish a ball, display the cloth by adjacent corner and both hands give the you are ready to produce the deck again.
shaking it, and drape it over the left palm. cloth a shake. The writer recently found another way

258 oer,r.un'sDELIGHTS
of using the cloth, which is to use it as a coins in the pocket. The right hand is now produce similar effects. The Devil's Hand-
repeat production. You need several, pref- shown back and front, reaches into the kerchief and The Go-Go Vanisher come
erably flat, objects. I have actually done it centre ofthe cloth (Fig. 5), and produces to mind, but neither of them have the
with three billiard baIls, but flat is better. the coin (fig. 6). The pocket corner of versatility of the Hanlcy Panky Cloth. The
What I have used to date are small bars of the cloth is now taken in the right hand first version ofthis prop that I devised
chocolate, or jumbo size coins which are and lowered carefrrlly, to prevent acci- was simply a black cloth with a pocket at
made of plastic. They look good and shiny dents. The cloth is now opened out and one corner. The idea ofputting a coloured
and they don't "tallC'too much. You need shaken. The same actions are repeated for border on it was dreamed up by Vic Pinto,
four, and they are all in position inside the the production of the remaining coins. to make it look prettier and perhaps more
pocket before you start. Whether you produce the objects one saleable, but it provided an accidental bo-
Shake the cloth to show its apparent in- after the other or separate the produc- nus. The coloured border creates a black
nocence. Gather up the first three corners tions by other magic tricks is a matter of aft effect, making any slight bump or
as we have described. When you come choice. The idea ofpicking up the cloth lump in the surface of the black cloth less
to the fourth corner (with the pocket) several times during an act to produce noticeable. I occasionally pretend it was
you grip the coins through the cloth and something has a ceftain appeal. Depend- devised with this in mind, but it wasn't.
as you lift them up, you allow one coin ing on the situation, it would be an easy
only to slip from your grip. It will drop matter to switch the cloth for a more
down into the centre ofthe cloth. The spectacr:lar production as a finale.
right hand corner is transferred to the left There have been other props, ofa
fingers, which must grip the remaining similar nature which have been devised to

DEALER's DELTcHTS 259

The eflect of vanishing a borrowed fin- Loading the Rlng on the Rtngsflck Ringstick in the spectator's hand without
ger ring and making it reappear, magically, r. The Ringstick is tucked under the left them being aware ofthe fact that they are
on a stick is not new. It has been around armpit with the thin end to the front holding the ring.
for a long time, but surprisingly, it is not and pointing in an upwards direction. S. If the Ringstick is lying on a table
seen as often as it should be. The right hand, which is secretly holding with the thin end projecting over the
Afewwell known performers have the ring, approaches the thin end ofthe edge, it is a simple matter to load the ring
featured it, people like Max Malini, Ringstick with the right thumb uppermost in the act of picking up the Ringstick
Giovanni, Galli Galli, Dai Vernon, Charlie and, in a downwards sliding action, slides 5. Ifyou have the ring in a Finger Palm
Miller etc. There are probably a number the ring on to the Ringstick. As the right position, say in the left hand, the right
ofreasons why the average performer hand reaches the halfivay mark on the hand can push the thin end ofthe Ring-
doesn't include the Ring on Stick in his stick, the stick is lifted out from under stick into the closed fist and out of the
repertoire, but there is one reason above the Ieft armpit. The ring has now been other side, leaving the ring loaded at the
all others. Courage. Yes, the Ring on Stick secretly loaded on to the Ringstick. centre ofthe stick.
effect requires guts, and that's one ofthe z. Instead ofholding the Ringstick 7.If yo:u are performing in a sitting
reasons whyyou don't see it too often. To under the Ieft armpit, have it sticking position with no obstructions in front of
offer that stick to a spectator and ask him out from the outside breast pocket, the you, the wand can be placed between the
to hold both ends, while you are secretly handkerchiefpocket. The action is exactly knees sticking upwards with the thin end
holding the ring on the middle of the the same as before. The right hand slides at the top. Again, a downwards sliding
stick is not the type ofthing that the prop down the stick and lifts the stick upwards action will load the ring into position. So,
magician likes to do. and out ofthe pocket, secretly loading the nowyou have several methods of loading
My Ringstick overcame this problem, ring at the same time. the ring at your command, what nex?
and is capable ofvariation and handlings 3. Have the Ringstick sticking up out
that will delight the man who already ofyour back trouser pocket. Just reach The Rerrelation
performs this effect. What makes the round to get hold ofthe stick and again The actual revelation ofthe ring appear-
Ringstick unique is the fact that it is the hand slides down the Ringstick load- ing on the Ringstick could depend upon
tapered, and when a ring is loaded on to ing the ring as before. Ifyou try this, you the method you have chosen to vanish the
the thin end of the stick, it will not fall off will realise the thumb will be pointing ring, but there are several wrinkles that
the other end. Because the Ringstick is ca- downwards. we have played around with which are of
pable of many different handlings we will 4. Depending on the actual routine interest. In all ofthe following ideas, the
describe the second part ofthe effect first. you do, you can have a spectator hold ring is already on the stick and being con-
This is the really important part - how to the Ringstick at the thick end with the cealed by the fingers ofthe performer's
get the ring on the Ringstick. stick pointing upwards. At one point, you right hand.
It is important to note that in the fol- actually take the stick from the spectator, r. The thin end of the stick is upwards.
lowing instances, the Ringstick doesn't loading the ring as you do so. Ifyou now Turn to a spectator on your right and hold
have to start off in the position described. use the Ringstick as a sort of magic wand up the stick, sayn&'.\Mill you hold that
It can be placed there in the course of and wave it over the place where the ring stick please?" As you say this, raise the
performing the effect. is supposed to be, you could replace the right hand so the spectator will grasp the

z6o DEALER's DELTcHTS

lower end of the stick. "Hold it tightly up hiding the loaded ring from view. The duplicate, any plain wedding band will do.
there", you say as you raise it still more. handkerchief is pulled away dramatically The handkerchief is held at the centre by
You now turn to the other spectators, to reveal the vanished ring. the Ieft hand with all four corners hang-
releasing your hold on the stick as you do 6. The most spectacular of all revela- ing down. The right hand, holding the
so. Most spectators will continue to hold tions is with the use of Flash Paper. Take a borrowed ring, reaches upwards into the
the stick high without noticing the ring. piece ofFlash Paper about two and a half folds ofthe handkerchiefto place the ring
z. This is similar to the last one, but as inches square with a hole in the centre. into the grip ofthe left fingers through
you offer the stick you hold it low, so the Thread this paper on to the Ringstick so the thickness of the handkerchief. What
spectator will grasp the upper, thinner it stops at about the halfiaray mark. The really happens is that the right fingers
end ofthe stick. Once they have a grip on ring, which is being concealed in the right secretly get hold ofthe corner ofthe
the stick, say, "Hold it behind your back", fingers, is threaded on to the top of the handkerchiefwith the duplicate ring, and
and as you say this you actually push the Ringstick as the right hand takes hold push this corner up into the grip of the
stick round to their side and release your ofthe stick at the top. The right fingers Ieft fingers through the handkerchief.
hold on the stick as it is placed behind retain their grip on the ring. The left hand The right hand, still holding the bor-
their back. Later they are asked to bring applies a cigarette lighter to the Flash rowed ring, reaches for the Ringstick and
forth the Ringstick to reveal the ring. Paper and as it bums the right fingers loads the ring. The handkerchiefis now
3. Ifyou have loaded the ring onto the release the ring which drops down the tossed into the air to show that the ring is
stick in the action of removing the stick Ringstick and appears as if by magic. no longer there. An alternative and more
from your top outside breast pocket, popular handling is to allow the spectator
then replace the stick in the pocket with Vanishingthe Ring who submitted the ring to hold the ring
the ring loaded. Later, you simply lift the It would be a pointless task to list all of through the thickness ofthe handker-
Ringstick from your pocket to reveal the the possible methods for vanishing a ring. chief. Ifthey are instructed to hold the
missing jewellery. Practically any coin vanish would suffice, ring with the forefinger and thumb only,
4. At the commencement of the effect and there are books ful] of coin vanishes. they will be unable to tell that it is not
you can place the Ringstick in a specta- The same applies to billiard ball vanishes. their own ring they are holding. In this
tor's outside breast pocket, asking him There are also a number ofprops on the case, the performer snatches the handker-
to look after it for you until you need it. market especially designed for vanishing chief away from the spectators grasp and
You can now load the ring in the action of a borrowed finger ring which enable the shakes it vigorously to show that it is no
removing the stick from his pocket and, performer to get hold of the ring secretly. longer there.
after waving it around, you can replace There are however, several methods that The Ray Grismer method where the
it in the spectator's pocket with the ring are particularly suitable for finger rings. borrowed ring is threaded on to a string
loaded. To create a climax you simply ask Here are a few of them. or cord from where it vanishes. This is
the spectator to Iift the Ringstick from his r. This is one ofthe oldest and still one probably the most popular method.
pocket. of the most practical methods ever de-
5. Ifyou have used a pocket handker- vised for this purpose. You have a dupli-
chiefto vanish the ring, you can drape the cate ring sewn into one corner of a pocket
handkerchief over the top of the Ringstick handkerchief. It needn't be an exact

DEALER'S DELTGHTS z6t

 e

Efiect whichwe will come to in a moment. what appears to be an ordinary deck. In

A deck of cards are shown both back and fact they will only see the faces of twenty-
front. A spectator is invited to look at the Method six cards and not fifty-two. The spectator
faces ofthe deck and think ofany one of The Brainbuster Deck is based on Dai is asked to think of one of the face-up
the cards he sees. The performer places Vernon's famous Brainwave Deck. The cards. The performer now places the deck
the deck behind his back and apparently cards are in pairs which cling together behind his back and pretends to reverse
reverses one ofthe cards in the deck. The because they have been treated with one card. He brings the deck forward and
deck is nowbrought to the front again Roughing Fluid. The front card ofeach holds it face up in one hand.
and the spectator is asked to name the pair is a double-faced card with the same The spectator is asked to name the card
card he is thinking of. When he names card printed on both sides. The rear card he is thinking of. The performer lifts the
the card, the performer spreads the deck, ofeach pair is a double-backed card which deck up so that the backs are towards the
backs up, and one card onlyis seen to be has a blue back on one side and a red back spectator, and starts to spread the cards
face up. on the other side. When the whole deck berween his hands.
It is the very card the spectator has is assembled, only the blue backs will When he reaches the card the spectator
named. The deck is now turned face up show, because the red backs are concealed has named, he separates that card from
and the card the spectator has named behind the double-faced cards. the one behind it. Because this card is
is seen to be the only red card in a blue If the deck is spread backs upwards the printed with the same face on both sides,
backed deck. spectators will see what appears to a nor- the spectator will see the card he has
That is a brief and simple description mal, blue-backed deck. If they are spread named face up in the middle of the deck.
ofthe effect but it is capable ofvariation face upwards theywill see the faces of A miracle.

z6z DEALER'S DELTGHTS

 From the performer's viewpoint the have described it until you have reached backed card has a face which matches the
rear card, with the red side showing, the stage where you show that the named red-backed card.
is now facing him. If the deck is now card is the only red-backed card in the
lowered to show the faces ofthe cards the deck. At this point, turn the deck over and Nofe: It is important to impress upon
spectator will see one red-backed card in the spectatorwill see his card again, still the spectator that he must think of one
a face-up deck. Right next to it, face up, is face up in a face-down deck. of the cards he sees. Don't ask him just
the card he has named. If, as the deck is Remove this card and place it on the to think of a card. If you do this, he may
lowered, the fingers ofthe right hand pull table on top ofthe blue/red card. Point not bother to look at the deck properly.
this card back under the remainder ofthe out that the card has been $ing on the He assumes he has a choice of fifty-two
deck, the spectator will assume that the table since before you started the effect. cards so he may just name any card. If
card he has named is the only red-backed Pick up both cards together and turn he does this he may name a card which
card in a blue-backed deck. Another them over, spreading them as you do so, is not contained in your deck. Remem-
miracle. and it will appear that the card which you ber, he only sees twenty-six cards. Once
Supplied with the originally marketed placed on the table is exactly the same as he has the card in his mind, you stress
deck was a single double-backed red/blue the card which was named by the specta- from that point onward the fact that he
card. This card will enable you to add still tor. This is because the spectator assumes only thought ofthe card and not that he
another punch to the effect. that the face-up card you placed on top is looked at the card.
Before commencing the effect place a red-backed card. He knows the card on Credit for the use of the extra card on
this card red-side down on the table in the table has a blue back. When the cards the table as a prediction must go to the
front ofyou, Perform the effect as we are tumed over it will look as if the blue- late Miss Terri Rogers of London.

prer.sn's DELTcHTS 263

Tlrts is pnobabl5r the finest method of day, I have no idea if Jon used a gimmick TheOrlglnal
apparently producing paper money from or not. I devised a gimmick which helped Each bill that you to produce
are going
thin air that has ever been devised. The with the sudden appearance of the bills. has to be folded in particular fashion as
a
origin of it appeared ittheTarbell Course The effect is, simply, that the performer per the original version, so let's start with
in Magic and I knew of it for years, but reaches into the air and a bill appears at that. The bill is folded in half, lengthwise
could never make it look like it should. his fingertips. This is repeated apparently (Figs. r and z), and then foldedinto aZ
Then one dayJon Tremaine, who was at will, but in fact you are limited to a few pattern (Fig. :). This Z is pressed flat and
much better known as a mind reading bills. The version in Tarbell used nothing one corner is folded back at an angle of
act, showed me a version which blew my but the bills, and in recent years I have forry-five degrees (Fig +). The drawings
mind, but he didn't tell me how it worked. seen another version which uses the bills illustrate this quite clearly. You will need
I knew that the preparatory folding only, but with a completely different fold. five bills folded in this fashion.
of the bills was exactly the same as that My first e>rperience with this type of All five bills must nowbe nested one
described in Tarbell's; I could see that effect came from the Bruce Elliott book, into the other (Fig. 5), and held in the
much, but try as I might there was no way Magb as aHobby, in which he described right hand. Note that the tip of the right
I could make the appearance of the bills the production of bills using similar forefinger is on the corner ofthe stack of
Iook anything like the T?emaine version. methods to that used with playing cards, bills (Fig. 6). The right thumb is placed on
They popped out, just like magic. So, as I plus a few other ideas, all of which I tried the first bill, right on top ofthe triangular
have done so many times before, I burned and used- but more on that later. Let's folded back section. If the right thumb
the midnight oil and came up with some- get back to the bill thing. is pulled back, the triangular section on
thing which does the job perfectly. To this the first bill will pop up a little (Fig. 7),

264 DEALER'S DELTcHTS

 9

enabling the tip of the right thumb to be

inserted under the triangular fold. Ifyou
now lift the thumb upwards away from
the stack of bills, and at the same time
relax the grip ofthe second, third and
fourth fingers on the stack, you will find
that the first bill will unfold outwards
away from the fingers (Fig. 8). Each time
you want to produce a bill, you just slide
the thumb back and under the triangular
fold of the next bill. That is a bald descrip-
tion of the original method of producing together with a piece of very thin rub- unfolds after the thumb is inserted under
the bills. ber. Ifthe two pieces ofcard are folded the triangular fold, the gimmick will force
over, theywill pop out again because the bill to pop out a little faster, creating a
What I have done is add a gimmick to of the rubber hinge. One of those small much better effect than without it.
each bill which makes the bill pop out a pieces of card is attached to the bill by
little faster. The illustrations show both means of a piece of double-sided sticky
the gimmick and where it is placed on the tape. When the bill is folded as we have
bill (Figs.9 and ro). The gimmick itself already described, the gimmick itself will
is two small pieces of thin card hinged be folded in half inside the bill. As the bill

oealrn's DELIGHTs 265

Topit is the rather unusualname gfuen to one One lmportant piece of information Imagine for a moment that you had no
of the most vqsatile props, or "secret aids" he did impart was the fact that he had idea what Topit was.
ner devised to assist the performance of got the idea from shoplifters, who had You read a magic dealer's catalogue
magic efects. just such a device under theirjackets into that with its aid you can make a deck of
The originator of this ingrniow devicewas which they loaded their loot. I also asked cards disappear. You send your money
Harold Comilen. I met himperhaps twenA- him when he had thought ofit, but again and in return you receive a Topit. What
fiue years ago, when he was quite ol$ and he was probably too old to remember. would you make of it? It is so difficult
asked him wlry it had been titled Topit, but he Although Harold Comden was the to imagine the possibility of vanishing a
either di.dn't know or couldn't remember. originator, magicians owe a great debt of deck of cards with its aid that it is indeed
gratitude to the late George (Gilly) Dav- a miracle that George Davenport found
enport, for it was he, and he alone, who other effects in which Topit was featured,
realised its possibilities. albeit secretly.
Although L. Davenpoft & Co. adver- In recent years Topit has been redis-
tised the Topit as the Vanishing Deck of covered, and there are some young guys
Cards, George Davenport $/as soon to around who really know how to handle
demonstrate to anyone who asked that it, but a word of caution. Because it is
Topitwas much more than just aVanish- so good and usefi:I, once you discover
ing Deck of Cards. Coins, glasses, balls, how to use it you will want to use it for
etc. were just as useful to demonstrate its everything. Don't do it. Use it onlywhen
amazing capabilities. it is necessary.

268 ToPrr
 What you will read in the following
pages is the result of this writer playlng
around with Topit for more than thirty
years and he's still learning.
Let's explain exactly what Topit is.
It is a large pocket which is fastened to
the inside ofyourjacket. Ifyou throw a
small object into the opening at the front
of your jacket it will land in the pocket.
That is a simple description of Topit, but
there are several details which are quite
important. are several pins along the upper edge, trousers, the opening of the jacket will
Figs. r and z showyou exactlywhat plus one pin on the lower edge. The pin cause the Topit to open. Anything thrown
shape the Topit takes. It is really a bag, on the lower edge is very important. This into the opening of the jacket will land in
with one side shorter than the other. If pin attaches the lower edge ofthe Topit the Topit.
the lining of your suit is black, the Topit to your trousers. When the jacket is worn Just for the record, there have been in
should also be black. If the suit lining is with the Topit in position, the raising of recent years several changes to the design
grey, the Topit should be grey. the left elbowwill cause the front edge of of the Topit. They have been made with
Note the position in which the Topit the jacket to open (Fig. z). By having the square corners. There is one that is higher
is pinned into thejacket (Fig. r). There lower edge ofthe Topit attached to the at the rear than at the front. Some have

ToPrr 269
been made where they taper to a point at elastic around a hole in the Topit right at his jacket opened, the weight of the wire
the rear. the point. Large coins or billiard balls can caused the Topit to open.
This writer once made one which be vanished, and later be "squeezed" out The Topit which is used by this writer
sloped to the rear and finished up with a of the Topit in exactly the same fashion is exactly as that designed by Harold
short tube. Any coins that were vanished as the old-fashioned billiard ball drop- Comden, complete with pins.
by this means ended up in the short tube. pers. What this means is that anything Double-breasted jackets are not really
You could vanish several coins, one after vanished in the Topit could be unloaded suitable for use with Topit.
the other. There was a slight delay after secretly, or stolen out and reproduced
each vanish before the coin eventually slid from behind the knee. fbpit Tedrnlque
down into the tube. Ifyou decide you are going to really The object ofthis section is to tryto
Once the coins were in the tube, bil- learn and use Topit, you should have it explain how you get things into the Topit
liard balls or other similar solid objects sewn into yourjacket rather than use the without anyone being aware that you are
could be tossed into the Topit without pins. All sorts of ideas have been used to throwing the objects into yourjacket. To
fear ofthem'talking". I think this idea fasten the lower edge to the pants - Vel- explain it quite clearly, we have to divide
was inspired by David Roth, the New York cro, magrrets, press studs, hooks etc. The it into two sections, one for each arm, and
coin man who came over to England in late Fred Lowe of Portsmouth, England, we are going to start with:
the early seventies and shed a new light didn't fasten the lower edge to his pants.
on coin magic for all of us. He let it hang free, with a thin wire in the The Left Arm
Another idea was to taper the Topit to hem of the lower edge. There was also a First things first. To throw something
a point at the rear and insert a piece of gu.sset at the front end of the Topit. When into your jacket, the jacket must be open,

z7o ToPIT
 I

but not particularly noticeable. Earlier, (r) Raise the left arm, straight out in left hand is at its highest point the jacket
we mentioned raising the left elbow. This front ofyour body. will be open. If you lower the hand and
is the method this writer favours most, (z) Pivot the arm so that the elbow is arm, the jacket will close.
although there are others which we will lifted (Fig.5). There are still more positions in which
explain. The action of lifting the elbowwill the jacket can be made to open almost au-
To enable you to understand exactly open the bottom front edge ofthe jacket tomatically, more of which later, because
what happens, follow these actions. a few inches. The action ofreturning the it's about time we explained just how you
(r) Raise the left arm to a position elbow to its original position will close get the object into the Topit unseen by
across the front ofthe body at chest the jacket Gig. 6). In performance, you those strange people we call spectators.
height (Fig.3). have to develop the habit or raising and
(z) Now lift the elbow upwards and a lowering the elbow almost without think- The Rtght llrm
little forward towards the spectators and ing about it. This section should reallybe titledThe
the edge ofthejacketwill open (FiS.+). We have shown you two positions in Right Hand and Arm, as it is a combination
The point we are trying to make is which the arm can be held to enable you of the actions of both which we are really
that it is not the lifting of the arm which to open the jacket. Here is a third. describing.
causes the jacket to open, but the lift- Stand facing the audience with a ball First things first. We have used the ex-
ing ofthe elbow after the arm has been in your Ieft hand, held palm upwards at pression "throwing things" into the Topit.
raised. waist height. Toss the ball up in the air In fact, there are only a few instances in
Here is another example. Stand with with the left hand, and as you do so, raise which you really need to actually "throw"
your right side to the audience. the left hand up to head height. When the something into the Topit. What happens

TOPrT 271
 those two facts is a third one. Yourjacket
is open on the left side.
At that moment, the right hand is very
near to the opening of the jacket. Lower
the right hand a little as it catches the ball
and bring the right hand up again creating
an upward arc and release your hold on
the ball as the right fingertips brush the
left edge of the jacket on their way up
(Fig.8).
As soon as the ball is released the right
fingers close into a fist as ifthey still held
the ball, and the hand carries on upwards
and over to your right, where it stops.
As soon as the ball is released, the left
hand is lowered to close thejacket. Your
whole attention is directed to the right
in most instances is that the right hand actual moment you are proving there is hand, which has more or less created a
and arm create an action, and during that nothing in the right hand. Logic has it circle-from the moment it started its
action the object held in the right hand is that, at that moment, the spectator must upward journey until it stops suddenly-
released. Because ofthe position ofthe think it is in the left hand. You now open to your right at about the three o'clock
right hand at that moment, the released the left hand to show the ball really has position. The right hand is now opened to
object will land in the Topit almost auto- vanished. Remember, the ball is allowed reveal that the ball is no longer there.
matically. to roll out ofthe right hand into the Topit. It is difficult to choreograph this ex-
Let us proceed. Stand with your right It is not projected by the right hand. actly for everyone, but there should be a
side to the audience, with a billiard ball certain amount of body action to go with
in the right hand. Raise the left hand up TheRtght A*m"PantTuto the hand actions. Watch a good juggler. If
in front of your body to almost shoulder We are going to take a little time now he really is good, he will incorporate every
height and apparently place the ball into to explain and perhaps explore the pos- limb in his body to help emphasise one
the left hand, but actually retain it in the sibilities of the right hand action, as this is small point. If you are going to vanish a
right hand, which is instantly lowered the hand which is actually doing the dirty ball, let the audience know it's happening.
to the right side. As the right hand is work. So far we have been discussing tech-
lowered, the left elbow is raised a little Stand facing the audience with a ball nique in the context ofbilliard balls.
causing the jacket to open. The right hand in the left hand, held waist high, palm up. You should realise by now that most
immediately turns over with a flourish to Toss the ball up into the air with the left ofwhat we have been discussing can and
show the palm ofthe hand to the audi- hand, and raise the left hand upwards should be applied to other objects, such
ence. In the action ofturning the right to head height as you do so. As we have as coins, cigarette lighters, saltshakers,
hand over the ball is released and will explained before this action will open the pieces of fruit, etc.
land in the Topit (Fig. 7). As this happens jacket. While discussing the actual objects you
the left elbow is lowered to close the Because of the situation we have just dispose ofinto Topit, it should be pointed
jacket. The left hand can now be opened described, if an audience were watching out that lightweight objects should be
to show that the ball is no longer there. you their eyes would actually be follow- avoided. Items like sponge balls, silk
The action of the right hand is that ing the flight of the ball. As you have just handkerchiefs, single playng cards and
the tips of the fingers almost create a thrown the ball into the air, it will natu- the like are not really suitable, and there
circle, pointing to the floor at the start, rally fall down again, and in this instance is a very good reason. Coins, billiard
and pointing downwards towards the it will be caught by the right hand. This balls, cigarette lighter and the like have
audience at the finish, to show the hand means that you will have to throw the a certain lneight to them, and as they are
empty. ball from the left hand at a slight angle, so disposed of into your Topit there will be
Again, the actions are: as to cause it to create an arc in mid air, occasions when the object will hit your
Lower the right hand to below waist enabling it to be caught in the right hand body on the way into it. Because ofthe
level. without having to reach out and grab it. weight, they will continue on their way. If
Turn the right hand over to show it Now perform the action we have just a lighrweight object hits your body on the
empty. described. way in, it will drop to the floor, because
Showthe Ieft hand empty. Throw the ball up with the left hand the momentum will be lost instantly.
Remember, it is in the action of show- and catch it in the right hand - but as you Ifyou have a very good reason for
ing the right hand empty that the object is do so, keep the 1eft hand up in the air, and wishing to vanish a silk handkerchief by
released into the Topit. stop there for a moment. The position is means of Topit, then add some weight to
If you analyse the actions you will that you have the left hand up in the air, it. An example of this would be to use a
realise that the ball is disposed of at the and a ball in the right hand. In addition to handkerchiefball. This ball need never be

272 TOPrT
seen. Simply tuck the handkerchief into be raised in time with the right hand as if In this instance it is the combination
your fist as you would normally, there is theywere following the flight path of the ofthe vanish and the reproduction which
no need for the audience to knowyou coin. This is actually the perfect vanish becomes a single effect in the minds of
have a ball in your hand. Steal the ball out of a small object in that it conforms to all spectators. The point we are trying to
as in the prescribed fashion and dispose that the layman imagines about the magic make here is that the audience should be
of the ball in Topit. art. You toss something up in the air and in no doubt as to what is supposed to be
You could also have small weights sewn it vanishes. That's magic. The problem taking place, and the responsibility lies
into the corners ofthe handkerchief, with it is that it is too good. Having said with you, the performer. So, if you decide
which would enable you to dispose of the that, we must e>rplain. There really is the to use the ?oss, think about it first.
handkerchief direct into Topit, provided odd occasion when a magic effect is too The true value of the Toss as an effec-
all the weights were rolled up into the good. How is this possible, you may ask? tive method of vanishing a small object is
centre ofthe handkerchief. Go on. Have Well, the answer is that we live in a world best exploited as an apparent impromptu
fun. Tryit. ofreal people, not a fantasyland where vanish. Just pick up the item, toss it up
miracles happen at the drop of a hat. in the air, and it vanishes. Table items,
The Toss A magic effect is too good when an like knives and forks, salt shakers, etc. are
This is the title I have given to a move audience, or spectator, cannot, or is un- perfect, and this brings us to yet another
in which the object is actually thrown able to, appreciate and demonstrate that method of getting the jacket to open more
directly into the Topit in fuII view of appreciation by applause or laughter. In or less automatically.
the spectators. It should not be used short, it is possible to fool them so badly Do not dismiss what we are about to
too often, as there is a slight element of that they sit there with their mouths open explain as being insignificant. It isn't. It is
challenge about it - almost as if you are and forget to applaud. And the reason one-hundred per cent practical and much
sayrng, 'ltr/here did it go?" Later we will they forget to applaud is probably because more importantly, it is very easy to do.
give a perfect example of how and when you didn't cue them to do so. Just stand at a table, place you left
to use the toss. This can happen in the effect we have hand palm down on it and lean forward,
Stand facing your spectators, both just explained. It can be so sudden, that allowing the left hand to support your
hands held about waist high, holding a it is over before the audience realise what weight, a little (Fig. 9).
largish coin. T\rrn the coin over between has happened. Is there an answer to the In this position the jacket will fall natu-
the hands and pass it from hand to hand. problem? There are probably many differ- rally into the position needed to throw
Take it in the right hand and apparently ent answers. Here are two of them: something into it.
toss it upwards, to the right. It vanishes. (r) Overemphasise the build up to the In a restaurant situation, this is the
What happens is that the right hand, to vanish, either by words or actions, so that perfect position to pick something up
gain momentum, is lowered a little before when it happens, they know it has hap- from the table and apparently toss it into
it is jerked upwards apparently to toss pened. the air. A saltshaker is ideal. It is a good
the coin into the air. At the bottom ofthis (z) Proceed instantly to a follow-up ef- size and the right weight. Just pick it
Iowering action the coin is released into fect so that the vanish is linked to it in the up, tap its base on the table a couple of
the Topit. The left hand and forearn are minds of the audience. times and toss it upwards with a down-up
across the body at that moment, provid- In this instance it is actually the follow- movement. on the down movement, the
ing both cover, and a slight raising of the up effect which gets the applause and saltshaker is released.
Ieft elbow, to open the jacket. not the vanish itself. A perfect example
As soon as the coin is released, the of this would to reproduce the coin in a Ifwe take the hand on the table a step
right hand jerks back up again to its origi- spectacular manner such as catching it in further, you will realise that it has many
nal position. Your head and eyes should a covered glass ala Copentro possibilities. By raising your hand and

TOPrT 273
placing it on a bar counter, you can get
the same effect. If someone is standing
alongside you, just place your left hand on
their right shoulder. All ofthese actions
will open the jacket for you, enabling you
to perform miracles anywhere.
Take the last instance, that ofplacing
your Ieft hand on a person's right shoul-
der. This is best done in an impromptu
situation. You have a glass in your right
hand. If it contains liquid, drink it. Place
your hand on your friend's shoulder as
already described.
Hold the empty glass in the right hand
at shoulder height.
Explain that ifyou toss the glass up in
the air with a spin, it will stay suspended
in the air for about ten seconds before
dropping. Offer to demonstrate. The right
hand makes a down-and-up motion. On
the way down the glass is tossed into the
Topit. As the right hand makes its upward
journey, the left hand is removed from
the spectator's shoulder. The jacket will
automatically close.
This method of vanishing a small
object is suitable for all conditions. The
effect is that something held in the right
hand vanishes while the two hands are So far, we have been discussing Topit as the two tend to overlap occasionally. E.g.
revolved around each other. if the only effect one could perform with you can use exactly the same method to
Just revolve the hands as in Fig. ro. If it is the vanish of a small object. While switch a deck of cards as you would use
you study the action you will see that if, that is undoubtedlywhat it was devised to perform a colour changing billiard ball.
at one point, the left hand and elbow are for, it is capable ofvariation, and one of In the first instance, no one is aware of
raised a little more than normal, the right its most useful attributes is that which what has taken place. In the second, the
hand can toss the object into the jacket on allows the performer to switch one object ball has changed colour, and everyone
its way up. Both hands should continue for another, a fact ofwhich no spectator knows it.
to revolve after the object has gone, and 15 aware.
start to slow down after the event, so that Having mentioned this fact, we must TheVlslble Switctr
the effect ofthe vanish is delayed until also draw your attention to another. Let's start with The Visible Switch.What
well after the fact. There are rwo different switches: TheVis- actually happens, in most instances,
The action itself may appear odd, but ible Switch, ard The Hidden Switch.lt may is that you vanish something into the
it is possible to include a statement to help you to understand them better ifwe Topit, and replace it with something else.
go with the action, such as: "Remember say that the visible switch is one in which Because of this fact, we are going to divide
when you were a kid and the teacher tried the object changes in fulI view of the audi- the actions into two sections: the left
to explain Algebra to you and used to get ence. A good example of this would be the hand, and the right hand.
everything all jumbled up"? colour change of a billiard ball. The right hand is the hand which
As the words, "all jumbled up", are The Hidden Switch is one where the disposes ofthe object, and for ease of
delivered, both hands revolve around each audience are not aware that anlthing description we are going to change a bil-
other. This is a reasonably natural action underhanded has taken place. An example liard ball. Hold both hands, about waist
to use in conjunctionwiththe sentence ofthis would be when a spectator shuffles high, with your left side to the audience.
you are delivering. This means that, ac- a deck ofcards and, when the performer You have a ball in each hand. The ball in
cording to what it is you \ rish to vanish, retrieves the deck, he switches it for the right hand is visible to the audience
just find the right words to go with the one which is specially prepared. In this but they are unaware of the ball in the left
action ofrevolving the hands. instance, the performer appears to be hand, which holds the ball with its back to
There are probably several "oddball" holding the same deck of cards. Nothing the audience.
actions that can be applied to the Topit. has apparently happened - yet. The right hand tosses the ball up into
It's a question of suiting the right words The above rwo definitions are not the air and catches it again. As the ball is
to the actions to make the actions aPpear quite as clear-cut as they appear. Ifyou caught in the right hand it continues in a
natural. take method and handling, into account, downward direction and, almost creat-

274 TOPrT
ing a circle, comes back up again, to meet 4. A small coin, for a large one. Or vice This may be a fact, but this is not the
the left hand. On the way up, the ball is versa. interpretation we wish to emphasise in
released into the Topit. As the two hands 5. A red ball to a red handkerchief. this section. What we wish to explain are
meet, with the right hand on top, they The handkerchiefis balled up in the left a few methods of switching objects, stere
perform a circular rubbing motion, actu- hand as for the colour changing billiard the actual switch is hidden from the spec-
ally rolling the Ieft hand ball between the ball already described. This is a particu- tators uew.
hands. Suddenly, you raise the right hand Iarly effective change as the handkerchief
upwards away from the left hand, leaving expands quicklywhen the hands are The Deck Switch (1)
the ball on the left palm. Only then do the separated. You will, of course require rwo decks of
spectators realise that a change has taken 6. For close-up, you could switch a cards and no card cases. One deck is in-
place. rubber ball for one which doesn't bounce. serted into the waistband ofyour trousers
If it is more comfortable and feels more This is a standard effect, but by using on the left side, backs out. The other deck
natural for you to do so, you can start Topit a larger ball could be used. is on view in your hands, after a spectator
with the left hand, holding the concealed 7. A silver or chrome plated ball to a has shuffled the deck.
ball, down by your left side, with the back shiny necklace. Hold the deck in the right hand, face
ofthe hand towards the spectators. 8. For impromptu performance, pieces up. Turn to your right and reach out
Always remember the actual effect you of fruit are ideal. Switch an orange for an with your left hand to pick up something
are trying to create in the minds of an apple. A pear to a grape. Whatever is avail- from your table. As the Ieft hand reaches
audience. able, use it. forward, the jacket will open. Simply drop
In this instance, they see a ball tossed the deck ofcards from the right hand into
into the air and caught again. It is now A simple sequence with fruit is as the Topit and with that same hand lift
rolled between the hands and changes follows. Have a small orange in the Ieft the other deck from the waistband ofthe
colow. The important action to the spec- jacket pocket. Display a plum and, using trousers. As you turn to face front again
tator, if he were to analyse it, is the rolling standard sleights, vanish it and repro- you will seem to be holding the deck in
of the ball between the hands. He doesn't duce it from the elbow. Vanish it again the right hand as before. No one will be
realise that the tossing ofthe ball into the and reproduce it by squeezing the tip of aware that the deck has been exchanged.
air is a necessary part ofthe effect, in that your nose and allowing it to drop from
it enables the performers hands to get that same hand to the other hand which The Deck Switch (2)
into the position required to ditch the ball is held about waist high in readiness to Another way of performing the exact
into the Topit. catch it. Nowvanish it a third time, but same switch is to turn to your left and
Once you understand the technique of this time reproduce it with the right hand reach behind you with the left hand to
TheVisible Switch, it doesn't take long to from behind the right knee. To do this, pick up an object from the table. In this
realise that it can be used to exchange any you turn your right side to the spectators. instance the right hand performs the
small object for another. The ingenuity of As you reproduce the plum, the left hand same actions as in the previous example.
the performer is now the crucial factor. reaches into the left jacket pocket and The exact situation here is that you
You knowyou can change one object for steals the orange. almost have your back to the audience.
another, but which objects do you use? Turn with your left side to the audience What makes it work is that it only takes a
Billiard balls are ideal, but only if you with the back of the left hand to them. fraction of a second to do it. You simply
already perform a billiard ball routine, Toss the plum up into the air and do The turn and pick something up from the
or actually want to perform a billiard Visible Switch. table and it's all over.
ball routine. There is also the problem of The actual change from one fruit to
actual performance. Do you have a stage, another is more une>rpected after a few The Gard Stab Stdtcfr
cabaret or platform act? If not, you imme- sleights with one fruit. The reason for the title is that the
diately discard all the stage routines, and writer used it in a card stabbing effect. A
stick to close-up. Well now, that should be enough shuffied deck was switched for a prepared
Just to give you a little incentive, here to spark your brain into action. Ifyou deck into which the knife was inserted to
is a short list of suitable items for switch- already do tricks with objects which are find the selected card. For the purposes of
ing. suitable for a Topit application, then this book, neither the effect nor the meth-
r. Coin to cigarette, or pack of ciga- try it. Dice, coins, small glasses, pens, od for achieving that effect is important.
rettes. Use a heavy coin. cigarette lighters, cigars etc. Go on. Try The point being made here is a method of
z. Deck of cards, in its case, for an something. Anlthing. But do try. handling to enable you to switch a deck
empty card case. It's a different way of of cards.
vanishing a deck. You could have some- TheHiddenSdtcfr This is another hidden switch for a
thing else inside the card case. It would There are two interpretations to the deck of cards. The setup is the same as be-
then become a switch of an object inside phrase, The Hidden Switch. In view of the fore, with a deck in the waistband of the
the card case. fact that all switches should be invisible trousers on the left side, but in addition
3. Any small container with an object to the spectators, the term could be ap- you have a dagger on the right side.
inside can be switched for an empty, plied to all switches. The logic behind this After someone has shufled the deck,
duplicate container. thinking is that if it is unseen, it is hidden. take it and hold it in the right hand face

TOPrT 275
up. Tell them you have a dagger. The left say to him, "Would you step over on this An effect such as Ralph Hull's Homing
hand takes hold ofthe left lapel and opens side please?" Ball, in which a ball is covered by a cone
the jacket slightly. The right hand, still As you say those words, you pull the and either vanishes or changes colour
holding the deck of cards reaches into the spectator across in front ofyour body. At repeatedly, is an ideal candidate to be
jacket to bring forth the dagger, but not that moment you switch the deck. Once enhanced by the use of Topit.
finding it, the hand is withdrawn imme- you have the second deck in your right The handling for using Topit in this
diately. hand, use the right hand to help you place fashion has to be devised for each indi-
The right hand, still holding the deck, the spectator in the correct position on vidual effect, but many of those already
now takes hold ofthe right lapel, and your right. This is actually a lot easier described tnder Topit Techni.que canbe
opens the jacket slightly. The left hand to do than it sounds, especially in an applied.
reaches into the right side ofthe jacket impromptu situation where you may be a An effect such as Spellbound, which is a
and brings fonh the dagger. The dirty little crowded. continuous change ofa coin from copper
deed has been done. In the actions we to silver, is another candidate in this sec-
have just described the deck has been Another Vension tion. Simply dispose of the surplus coin
switched. Still another mse to cover the same at the correct moment, according to your
Here's how. When the right hand switch is to reach to your left and pick routlne.
reaches into the left side of the jacket, it up a chair with your 1eft hand. The hand It is difficult to describe effects using
ditches the deck into Topit and picks up swings the chair across in front ofyour Topit as a profonde, because you are not
the deck from the waistband. Because body, and around to your right, and de- actually using Topit to improve the visible
you withdraw the hand immediately and posits the chair just a little behind you to effect. You are simply using it to destroy
take hold of the right lapel with the right your right. the evidence, as it were, after the event.
hand still holding the deck, no suspicion The ostensible reason for doing this is Effects such as Diminishing Cards, Colour
is attached to the action. The attention because you want someone over on your Changing Knives, Stack of Coins, all come
at that moment is drawn to the left hand right to sit on the chair. under the heading of effects where some
bringing forth the dagger. In fact, your reason for the action is piece of evidence has to be disposed of
to enable you to switch the deck you are secretly, and Topit is a means to do this.
Having described the Card Stab switch, holding for the one in your waistband. One very important point to remem-
we are not suggesting that you start trying This writer learned the term, Profonde, ber is that using Topit as a profonde is
to figure out how the card stabbing part of from one of Professor Hoffmann's books. quite different from using it as a means
the effect was done. Much more impor- It is a large pocket fitted into the tails of to a direct vanish. It will make this point
tant is that it is another piece of misdirec- a tailcoat. There were usually two, one simpler to understand if we tell you that
tion that someone, somewhere, may be on each side, and the idea was that ifyou you can actually turn your back on an
able to use, by substituting another object held an object in your hand, the action audience or a spectator to enable you to
for the dagger. of dropping that same hand to your side, drop something into Topit. If you have
Ifyou can find a good reason for reach- would allowyou to secretly dispose of the finished performing an effect, and are left
ing into the jacket, maybe to bring forth object into the profonde. with (say) a coin concealed in the right
an extra large coin, or the empty card It didn't take long to realise that the hand, simply turn to your right and pick
case, a rubber band or whatever, you are Topit is a modern day profonde. something up from your table with your
home and dry. The first use I made of Topit in this left hand. As this is done, the right hand
direction was to dispose of the Dye Tube drops the coin into Topit.
I sincerely hope that everyone who gimmick in a colour changing handker- This is probably one of the most ef-
reads this will try to devise their own pet chiefroutine. The action ofholding the fective uses of Topit, and it is capable of
little trick or routine. left hand up, almost at shoulder height variation, to such an extent as to make a
It is possible, and in the case of more to perform the effect, created the perfect sort of universal vanish. You can vanish
experienced performers more than likely, situation to dispose of the gimmick into almost anlthing by this method, which
that you already have an effect in which the Topit. has been tried and tested by some ofthe
a deck of cards is switched, and this par- A sleight-of-hand version ofthe colour greatest professional magicians, since be-
ticular method is just what you have been changing billiard ball is another natural fore Topit was even thought of, and ifyou
looking for, because it does away with place to make use of the Topit as a pro- think that is a contradiction in terms, you
that horrible box you have been using to fonde. A red ball is changed to a white ball are right, and it is meant to be so.
switch decks. and that's all there is to see. The red ball What has happened is that we have
is disposed of into the Topit. taken a very old principle of deception,
AndOne Mone Switch The idea can be applied to almost and allied it to Topit, creating one ofthe
The setup for this switch is exactly as anything concealed in the hand. Ifit is nicest and easiest vanishes of a small
before: one deck in the waistband, one on something of which the audience are not object you will ever see.
view. You have a spectator to assist you. aware, the mystery can be made both Here's how. You will need a small
He is on your left. The deck on view is in more complete and deceptive by display- to medium size wine glass. Cut a small
your right hand. Take hold ofthe specta- ing the fact that you do not have anything round disc of cardboard exactly the
tor's right elbow with your left hand, and concealed in the hand. same size as the rim of the wine glass.

zj6 ToPrr
 you are going to pour liquid into the glass
in fulI view, and then vanish it. Well, it can
be done.
You will require a small glass, a jug
of liquid, a double handkerchief with a
round disc as previously mentioned, and
some Slush Powder. If a small quantity
of this powder is placed into the bottom
of a glass and water is poured into the
glass, the liquid will, after a few seconds,
become solid, somewhat like a jelly or
blancmange.
I know that by now you are way ahead
of me but I will continue nevertheless.
The jug, the glass and the handkerchief
are all on your table to your right. Pick up
the jug in the right hand, the glass in the
This disc is sewn into a double thickness of Topit the spectators can see the glass Ieft hand and facing the audience, pour
handkerchief. Do not use a magician's silk being lifted offa thin undraped tabletop Iiquid into the glass. Replace the jug on
handkerchief but something a little more before it is placed under the handkerchief. the table, and then replace the glass of
substantial. Fix the disc at the centre of Now let's take the whole idea a step liquid on the table. Pick up the handker-
the double handkerchief. further. Suppose we wanted to vanish a chief and after displaying it on both sides,
To perform the vanish, have the glass glass of liquid? Many magicians in the drape it over the left forearm.
and handkerchief on your table to your past have thought ofusing Topit to vanish From this point on just follow the
right. Pick up the handkerchiefand after a glass of liquid, and in almost all cases previous instructions for vanishing a wine
displaying it both sides, drape it over your they thought of using a waterproof Topit, glass under a handkerchief. Because the
left forearm, which is held in front of and made of rubber, plastic, or some other liquid is now solid you have no fear of it
across your body, parallel to the floor. The similar material. spilling or soaking your jacket. You will,
bulk of the handkerchief will hang down I, like all the others, tried it and it just of course, have to experiment to find out
in front ofyour body (Fig. rt). isn't a practical thing to do. Is there an the correct amount of powder, which will
In this position, the left side of the answer to the problem? Yes, there is an naturallyvary according to the size ofthe
jacket will hang open naturally. The right answer. In fact there are several answers. glass. Ifyou get the correct amount of
hand picks up the glass from the table and One is to have a fake glass of liquid which powder with the correct amount of water,
apparently places it behind the handker- can't spill. it is possible to get it to solidi$r almost
chief. In fact the glass is tossed straight The foregoing solution doesn't really immediately. Your favourite magic shop
into the Topit. As soon as the right hand solve the problem, because in most in- should be able to supply you with Slush
releases the glass, it continues with an stances, when anyone has tried this effect Powder.
upward action and pushes the disc at the they always start with the premise that
centre of the handkerchief forwards and
upwards. To the spectators it will look
like the rim of the wine glass under the
handkerchief.
The action of pushing the disc forward
will pull the handkerchief free of the left
forearm. The left hand is now brought
over the top of the handkerchief and takes
hold of the disc as if it were the rim of
the glass. The thumb and fingers should
grip the rim (?) as if theywere holding the
glass from above (Fig. tz).
The right hand takes hold ofone ofthe
corners ofthe handkerchief and, grving it
a sharp pull, frees it from their left hand.
The handkerchiefis now shaken out to
show that the glass has gone.
It really is a perfect vanish. The old
time magicians used the principle to
cover the fact they were dropping the
glass into a well in the table. With the aid

TOPrT 277
Othen Applications of a is displayed at the fingertips. Unknown so that it is hanging from the left hand
Handkencheif to your audience, you have a large copper diagonally in front ofthe body. Because
We have already mentioned the fact that coin concealed in the Finger Palm ofthe the left hand is raised a little to display
we think of this as a sort of universal van- same hand. the empty paper, the jacket will open
ish. If you think about it for a moment, After displaying the silver coin the naturally. Because the paper is covering
you will realise that you can fix a different right hand apparently places it under the front of the body, it is a simple matter
shaped piece of cardboard into the double the handkerchief. In fact, the right hand to place the cane into the Topit. Now
handkerchief and vanish something other tosses the silver coin straight into the crush up the newspaper and toss it aside.
than a wine glass. Topit and places the copper coin up You are left clean.
A small strip of cardboard would look into the centre ofthe handkerchief. The We have deliberately left out handling
like a deck of cards being held under a Ieft hand as before is brought up to grip details of the walking stick itself. When
handkerchief. Even a single card sewn the coin through the handkerchieffrom you purchase the effect, it arrives com-
into the handkerchiefcould be held as ifit above. The right hand takes hold ofone plete with instructions, which explains
were a whole deck of cards. ofthe corners ofthe handkerchief, which the removal ofthe knob, etc.
If you think back to the well-in-the is hanging down, and starts to raise it As we have already said, that is a
table idea, then you will realise that most upwards. As it does so the left hand turns fairly obvious way of using Topit for that
of the effects which used this principle inwards and upwards, allowing the folds particular effect. There is another way
could be adapted for use with Topit: small ofthe handkerchiefto drop down over of utilising Topit in the Vanishing Cane
alarm clocks, glasses, dice, small statues the left hand and expose the fact that the effect, and it is a much more subtle way.
or figures. In the nineteenth century silver coin has changed to copper. It is also more theatrical and magical. In
an effect ca1led Bonus Genus was very If you intend performing this effect for addition to the cane and the newspaper
popular. It was revived again towards the children, then change a large silver coin to you will also require a saltshaker. The
middle of the rwentieth century under the an even larger gold coin. The real beauty saltshaker is in the right jacket pocket at
title Wandering Willie. The effect used ofthis effect is that the gold coin you give the commencement of the effect.
both a gimmicked cloth and a small figure the child is a chocolate one covered in Proceed as normal, wrapping the cane
of a man which was also specially pre- gold foil. At one time this writer always in the newspaper as before, and stealing it
pared. This effect, ifyou care to research carried a stock of these "gold" coins with out into the right hand. At that moment,
it, is an ideal effect for both the children's him forjust that purpose. the left hand turns over so that it is back
entertainer, and Topit. Now that you understand the fact that up. The right hand with the collapsed
There are some objects which are ideal it is possible to switch objects using the cane concealed within it, reaches into the
for vanishing under a cloth or handker- under-the-handkerchief principle, you rightjacket pocket and brings forth the
chiefas we have described, but do not don't have to be a genius to work out one saltshaker, and leaves the collapsed cane
actually need a cardboard shape fixed into or two effects for yourself. behind in thejacket pocket.
the cloth. Ifyou were to take a large cigar The right hand now proceeds to sprin-
and place it under a handkerchiefand grip Vanishhg Cane ln Neruspapen kle salt along the length of the newspaper
it through the thickness ofthe handker- This is a now-standard magic effect from one end to the other. The salt-
chief, it wouldn't look any different than invented by the late New York magician shaker is then tossed into the air where
ifyoujust gnpped the centre ofthe hand- Bobby Baxter, and we have to assume that it vanishes. The left hand now allows the
kerchief without the cigar under it. This you are aware ofthe fact that the cane newspaper to unroll to show that the cane
means that there are a lot of objects that collapses into the hand. The effect is that is no longer there.
can be vanished under a handkerchief, a walking stick is wrapped in a newspa- Nofe: The left hand holds the rolled up-
without the handkerchief being prepared per, and when the newspaper is unrolled newspaper in front ofthe body, horizontal
in anyway. just a moment later, the walking stick has to the floor about waist high. This is the
Coins, rings, pens, pencils, small pieces vanished. perfect position for the toss action to
of fruit, a packet of chewing gum - the list This is an ideal effect in which Topit dispose of the saltshaker.
really is endless. It just depends on you, can be an aid. There are two ways in
and your ability to think on your feet. If which it can be used. The first is fairly
the occasion arises where it would be ap- obvious. You wrap the cane in the paper
propriate to vanish some odd object, then so that, from the audience's viewpoint,
go ahead and do it. you are holding a long tube ofpaper. The
A little earlier, we described how it was cane is allowed to slide out of one end of
possible to use Topit as a switching de- the paper tube, about halfiuay. It is now
vice, in which balls would change colour pushed back into the tube, and at that
etc. Well, a similar effect can be achieved moment the cane is allowed to collapse
with the under-the-handkerchief vanish. into the right hand. The right hand is now
Drape the handkerchiefover the left dropped to your right side.
forearm as already described. The right The left hand, which is holdingthe
hand reaches into the right jacket pocket paper tube at about the centre, grips one
and brings forth a large silver coin, which corner of the paper and allows it to unroll,

z7g ToPrr
 Patrick Page's

ln thefollowing pages you willfind more The neason fon compiling this material You may realise that many of the ef-
comedy magic effects than you will prob- is to ensure that it doesn't get lost. Some- fects to be described are in this so-called
ably ever need. lfyou aspire to be a comedy one, sometime, somewhere, will be glad I public domain, at Ieast that is what the
magician or one who likes to inject a little took the trouble, I hope. writer thinks, but are they? He hopes so.
laughter here and" there in the act, you will The material itself is a gathering of He will at least try to give credit where
almost certainly find something to suit you in those you have loved plus a sprinkling of possible, and occasionally may mention a
this chapter. original effects from the writer. Most of performer who has had some success with
the effects have been around a long, long a particular effect.
time and were probably stolen by so many One of the problems regarding public
performers from each other that the origi- domain that cannot possibly be overcome
nator's name has been lost forever. It has is when someone says,'lVhen I was in
become what is known as, "In the public Mexico I saw a clown do a thing with a
domain". This is a great pitybecause it broomstick, etc." Now this conversation
makes it difficult for someone who may be takes place in Germany and the listener
genuinely creative. Most performers seem eventually performs this thing with the
to think that because something has been broomstick and so do six others who see
performed on television it has become "In him do it. The originator from Mexico
the public domain". arrives in Germany and finds out that his
Well, it hasn't. Unfortunately, it will gag is common knowledge, at least among
become so. performers in the area. It has happened.

z8?, coMEDYMAGTC
 I suppose, unhappily, we must ac- present it as a feat of skill? All the little Construction Kit, is taking shape under
cept the fact that most performers are bits of business which were wrapped the cloth. The music, which started off
not particularly creative and hope that around this feat - the match, the twitch- quite gently, increases quite gradually
in performance, at least, they will bring ing head, the rubber band - all combined throughout the whole presentation, until
something to the effects that were not to project an image which was designed to the cloth stops rising, which coincides
there before - things like sryle, personal- make audiences laugh. with the "soldier" coming to attention
ity, presence, etc. Carl Ballantine was a smart-ass. The behind the table and the music stops.
This chapter is about comedy magic, closest I could get to describing his per-
but what is comedy magic? sona so someone who had never seen him He discards his "rifle", and with a
Can you answer that question? I don't would understand would be to say he was flourish he removes the cloth from the
even want to try. W.C. Fields on speed. He was doing an act table and reveals, in all its glory an almost
It would be very easy to say, "Any trick and audiences knew he was doing an act. exact replica ofthe Bridge over the River
that gets a laugh", but we know instantly They knew he was acting a part because of Kwai built from the Construction Kit. He
that this is not a correct definition. In all the throwaway lines and asides. It was takes one step backwards and salutes, and
Great Britain it used to be called Cod a performance with real class, and he was at that exact moment there is a horren-
Magic, and there were several performers funny, funny, funny. dous explosion and the bridge collapses.
who called themselves Cod Conjurors. The point I am trying to convey is Now follow that.
Maybe if we had a look at them we might that if you are funny, or think funny, the This is an example of a perfect plot for
get closer to an answer. comedy tricks, gags, props, or whatever a Comedy Magic routine which is funny in
Where do we start? With Carl Ballan- you are using will appear to be funnier. If itself, without the input of Messrs. Ballan-
tine? Tommy Cooper? Mac Ronay? Or do you need an example, just look at any of tine, Cooper, Ronay etc. But they are rare.
we go further back in time and choose the well-known television presenters who The reason for describing the routine is to
Frank Van Hoven, or Chris van Bern? have become personalities. They have give heart to the beginner by pointing out
Donald Stuart maybe? Arthur Dowler? I some of the greatest scriptwriters in the that it is possible to manufacture an act
know that a few of those names will be world working for them and audiences which is funny in itself, because the plots
unknown to manyyounger performers laugh at their material, which is usually ofthe effects are funny and not because
but we are trying to start somewhere. Ac- topical, but you don't get many people of the props themselves. The props are a
tually the answer to the question'lVhere saying, "Isn't he funny''. Wel1, do you? means to an end.
do we start" is "Nowhere". A study of any There are a few ofthem who are ftrnny, There is no system, no rh)rme or
ofthe really great comedy acts ofthe past but that's usuallybecause theywere funny reason, in the way this material has been
will tell us little about Comedy Magic. before they became television presenters. put together. You may find similar type
The reason is fairly simple: Carl, Tommy Let me describe the almost perfect gags five pages apart. From erperience
and Mac were funny men. If they had Comedy Magic gag. It was performed this writer knows that if you sit down and
decided to become musicians, they would manyyears ago by a Continental magi- read this material as a book, the gags will
have become comedy musicians. If they cian whose name I never knew. I hope no longer be funny after the first half-
had wanted to be acrobats, they would he is still with us and will forgive me dozen pages. The average reader will, of
have been comedy acrobats. with these for using part of his act as an example course, dojust that. Ifyou want to know
guys it wasn't just the material. They of excellence. It is unlikely that anyone what's in a book you have to read it. But
thought funny and, in the case of Cooper will perform the effect todaybecause, take the advice of an old timer. After your
and Ronay, they looked funny. although it was allied to, and derivative of, initial browse through the pages, leave
It has been said a thousand times that a now famous film of the period, it could it on the bookshelfuntil you need a gag
Tommy Cooper didn't have to do much be described as being a little dated, as you for a specific purpose, because that is
to get laughs, he was just funny. While will see. when this material will be of most use to
this is quite true, he had to do something, The audience see a more or less classic you. You already know what type of gag
he couldn'tjust standthere forever. He magicians table, complete with drape and you are looking for, be it with a cigarette,
chose to do magic tricks and, because he fringe. The magician picks up a large chil- newspaper, or whatever. This way you are
was funny, they appeared to be Comedy dren's type Construction Kit. The whole liable to find the most suitable gag for the
Magic tricks. Fiftypercent of the time kit is tipped out on to the tabletop and purpose in mind.
they were not Comedy Magic tricks, as covered with a large cloth. The magician If you just read through this material
we knowthem. Manytimes the audience now picks up a walking stick and, behav- looking for new gags, you might get lucky,
were just surprised that the tricks worked. ing as if it were a rifle, he stands to atten- but the other way is better. The ultimate
Result: laughter. tion and then shoulders arms. To a taped aim is better. You are more likely to find a
background accompaniment of 'Colonel more suitable gag.
Mac Ronaywas abumbler. He never Bogey', or as it now seems to be called, Why am I tellingyou this? I don't know
appeared to be exactly sure what it was he 'The Bridge on the River Kwai March', he It's like telling someone who can't swim
wanted to do. He was never dressed quite starts to march up and down and around not to go in the water until they learn how
right. Many of his so-called effects were the table. During all of this, something is to swim. So dive in and drown.
quite ludicrous. Who else would blow seen to taling shape under the cloth, on I don't care. I don't even know
cigarette smoke through a paper tube and top of the table. Something obviously the

coMEDY MAGrc 283

 The Maglc Box Vd's Openen will repay him the next time you appear at
that venue, provided he produces the I. O.
There is a box with a hinged lid on your This is an opener that the writer used U. at that time.
table. You pour a glass ofbeer. You lift the for a long time, in the nineteen flfties. The important thing to remember
lid ofthe box and place the glass ofbeer It originally came from scriptwriter, Val here is that you have had plenty of time
inside the box. You now make several Andrews. The patter explains almost to dispose ofthe note in either a nest of
magic passes over the box, and pick up everything. boxes, loaf ofbread or any other unlikely
the box from the table and carry it for- "My name is ... and I'm a magician, place. Ifyou decide to follow this route,
ward. Open the lid and show the inside of and as this happens to be the only Friday don't forget to have the note signed at the
the box to be empty. In fact the audience night this week, I'd like to showyou my outset.
can see right through the box because it first trick first". [He flips open an opera
has no bottom, and by this time they have hat.] "And that's it". [He now waves his
seen the glass of beer, which is sitting on hand over the hat and produces a scrawny The Hand5rman
the table. chicken.] "Bit tired looking, isn't she?
Remaining completely oblivious to Mind you, you'd be tired if you'd just laid This is an old George Blake gag. You have
any reaction you may have had up to this one ofthese". [He reaches into the hat a false hand under yourjacket on the left
point, you close the lid ofthe box and re- and produces a very large egg.l side. Drape a large cloth over the left fore-
place the box on the table, over the glass Both the chicken and egg are ofrub- arm, which is held in front of and across
of beer. A few more magic passes and you ber and are therefore collapsible, which the chest. The right hand reaches behind
open the lid of the box and lift out the enables you to have the hat in a closed the cloth which is transferred to the right
glass ofbeer to show that it has returned. condition to begin with. forearm, but the right hand has picked up
the false hand on the way. When the cloth
is over the right forearm the spectators
The Vanishing Bindeage Teaning It Up can see the false hand projecting from the
left side ofthe cloth. The left hand is now
The performer is seen standing centre The performer takes a sheet of newspaper held up and displayed on both sides be-
stage holding a small birdcage between and tears it into two pieces. He places fore taking hold of the right hand, which
both hands. He announces that on the them together and tears then again mak- comes offin the left hand.
count of three the birdcage will vanish. He ing four pieces. This process is repeated Scream and toss everything aside.
counts ttOne, two, three" and on "Three" another once or twice until he has a
his trousers disappear, at which point he packet of small pieces of paper.
exits, fast. He holds the packet up to display it, Meeeoooow
The answer to this one is a pair of rip and quite deliberately reaches down and
offtrousers. He stands centre stage at places the pieces ofpaper under one of The funny man picks up a small canister
the point where the curtains meet. The the legs ofhis table. He now rocks the and holding it in one hand he waves the
trousers are ripped offfrom backstage, table a little to make sure it is quite firmly other hand over it in a mysterious manner
between the two curtains. based. while muttering secret incantations to
someone or other. He now reaches into
the top ofthe canister and pulls forth a
The Vanishing Apple An Altennative handkerchief which is dripping wet. He
holds it up, looks at it, Iooks at the audi-
The performer places an apple in the This is similar to the last one, but more ence and says, "I'11 kill that cat"
centre ofhis table which is draped to subtle. You ask to borrow a rwenty pound The canister is any small can which has
the floor. He holds a small cloth in front note from a spectator. You hold the note been decorated to look like a magic prop.
of the apple for a moment and when he aloft, and quite deliberately start to fold Have a drop of water in the bottom of
whips it away, the apple has vanished. it in several different directions. When the can so that the handkerchief actually
He offers to repeat the effect with an you think you have it just right, you bend drips as it is produced.
orange which is placed on the table. While down and place it under the leg ofyour
demonstrating that the cloth is com- table as before.
pletely unprepared a hand appears over There is a follow-up to this. As you Arnivedenci Magic
the rear edge ofthe table and removes the place the note under the leg ofthe table,
orange. The performer also spots it and you switch it for a piece of paper folded The performer holds a small can in his
gives the drape at the side ofthe table an up. Towards the end ofthe act, you sud- left hand. His right hand reaches into the
almighty kick, at which point the audience denly remember the note and invite the air and produces a coin, which is dropped
hear an audible, "Ouch". spectator up to retrieve his money. He into the can. Another coin is produced
gets the paper and when he unfolds it you and dropped into the can, then one more,
instruct him to read what it says. He reads making three. After the third coin is
aloud, "L O. U, twentypounds". You ad- dropped into the can, a small jet of water
mit that you do owe him the money and spurts up into the air from inside the can.

2,84 coMEDYMAeIc
 Looking at it, the performer laughs and where the cards are all joined together. runs it down and across the crease and it
says, "Three coins in a fountain". The (almost) accepted method of pre- separates in the middle as if it had been
You can work out the details ofthis one sentation for this gag is to present a few cut\rithaknife.
for yourself. A rubber bulb, a little length flourishes with the deck as if you were a It is actually two pieces of rope which
of tubing, some water and a hole in the great card manipulator, and then acciden- are joined together by press studs (also
back of the can to get your thumb in to tally (on purpose) expose the fact that called snap fasteners). A sharp pull on the
squeeze the bulb. they are all strung together. ends with cause them to part instantly.
If you really can manipulate cards well, Nofe: Don't forget to paint the press studs
then try this. white, or better, use white ones.
Colour Blind? Add a couple ofloose cards to the top
ofthe deck. Now perform a series ofcard
Three handkerchiefs, red, white and blue, manipulations with the deck, arm spreads, A Ffaming Gandle
are placed into a box, bag, tube, or what- waterfalls etc.
ever. He waves his hand over it in a magic During this display one or two cards Holding a large candle in his hand, he
pass and pulls the handkerchiefs out fall to the floor. At the finish, pick up the covers it with a cloth, and announces that
again, in reverse order, saying, "Look at cards that have fallen, add them to the top when he removes the cloth the candle will
that. The white handkerchiefhas changed ofthe deck, and place the deck in your be alight.
to blue, the red handkerchiefhas changed pocket. He now recites an incantation.
to white and the blue handkerchiefhas The point is that in the process of per-
changed to red. HOW ABOUT TFIAT?" forming the little routine, the spectators Hocuspocus,
A later version of the same gag is to become aware of the fact that the cards Blackandwhlte
use two spotted handkerchiefs, a white are all joined together. Please malce this condle
one with black spots and a black one with Don't ask me howyou achieve this, it Come alight.
white spots. They are placed into a change depends on sryle, but it can be done if it
bag and, "The black one with the white is a sort oftongue-in-cheek presentation, He now removes the cloth and shows
spots has changed to the white one with but by replacing them in your pocket, it's the candle alight. In fact the whole body
the black spots and the white one with the as if you refuse to acknowledge the fact of the candle is glowing, because the
black spots has changed to the black one thatthe spectators knowthe cards are candle is actually a white plastic tube with
with the white spots." As before, you pull joined together, although the fact remains a battery and light bulb inside it.
them out in reverse order. that Thqt know that you know, that they
They are now replaced in the change know.
bag and exchanged for two plain hand- Whipcnaekawagr
kerchiefs, one black and one white. "Look
at that. The white one has now got white A Fhsfiy Gag This one came from Pete Biro of Califor-
spots and the black one has got black nia. It is the ideal gag to do before, after,
spots". This gag was the creation of Peter New- or during a rope trick, so what more can
combe, one time secretary of The Magic you ask for.
Circle. Holding out a small frying pan you He stands with his right side to the au-
A Coloun Change say, "Watch", there is a sudden flash and dience. A three or four foot length of rope
a puff of smoke from the centre of the is held at one end in the right hand. The
A small silk handkerchief is tucked into frying pan and you say, "That was a flash remainder of the rope is hanging down.
the top of the left fist, slowly, until it is in the pan". He gives the rope a flick with the right
out of sight. The handkerchief is now A small piece of Flash Paper is rolled hand and it cracks, loud, just like a whip.
pulled slowly from the bottom of the left into a ball and stuck to the centre ofthe He does it again, and again.
fist and it is seen to have changed colour. frying pan. Just touch it with the lit end As he is doing this he moves around
The left hand is now opened and the of a cigarette to get the flash. No doubt a little until the spectators see that he
original handkerchief, which is still there, some bright spark will elaborate on this is holding a pistol in his left hand. As he
e>rpands instantly. and make a battery operated flash mecha- flicks the rope with his right hand, he fires
Just before the left hand is opened, to nism in the pan. This type will never take the pistol with his left hand. A starting
reveal the original handkerchief, the per- advice. pistol is ideal.
former points out that, "If I can only get
rid of this one I'd have a miracle".
Shary As A Knife Bang Barg
The Eleetnic Deck This is another of Peter's brain waves. From the title you can guess we have a
He points to his trouser crease and says, gun in this gag. One that fires blanks, of
There are no batteries involved in this "Look at that, as sharp as a knife", at course. After one ofyour miracles, you
Electric Deck. This is the name in com- which point, holding the rwo ends of a ask, "Does anyone one know how that
mon use by magicians for the strung pack, short length ofrope in each hand, he trick was done?"

coMEDY MAGrc 285

 If someone says, 'Yes", and they will. run down the stick to a battery at the You need a rubber glove, a glass, and a
Pull out the gun and shoot them. bottom of the stick. There is also a switch rubber ball with a hole in it. Fill the ball
adjacent to the battery. Several different with milk. If you don't knowhowto do
coloured sticky tapes are wound barber this, ask someone. Before your entrance
Attraetion pole fashion around the stick to hide the blow up the rubber glove, and you'll be
wrres. amazed just how large you can get it; hold
In the course of his performance, the the mouth of the glove firmly in the left
performer accidentally knocks something hand to stop it deflating. The rubber ball
offhis table top. He turns back to look Smoke Gets EvenSrwhene is in your right hand. When you pull the
at it, picks up a large magnet from the thing, you squeeze the ball.
table, and holds it above the object which This was one ofthe very first cigarette There are many different types of
immediately floats upwards and sticks to gags the writer ever did in an act. It came rubberballs around. Youwill have to
the magnet. from an old Will Goldston magic book. I experiment to get the right one. Some
The object you decide to use must think that, placed properly, it is one of the ofthe plastic squeezy containers would
be lightweight. David Nixon used a funniest smoking gags. do. If you want to do this in the middle
small silk handkerchief. The magnet is a It is a case oftaking a drag on a ciga- of the act, have an assistant walk on with
large plywood cut-out ofthe traditional rette. You remove the cigarette from your the glove. They hold it while you milk it.
horseshoe-type shape. On the back of lips with the first two fingers of the left Come to think, you could probablyblow it
one of the "arms" there is a locking reel. hand. The left hand is now placed flat up onstage. It would be just as funny.
The thread on the reel is pulled out to palm against the left side ofyour face.
the required length and locked in posi- In this position, you can blow the smoke
tion. The prop to be lifted is attached down your left sleeve. The Shot Knot
to the loose end ofthe thread. Once the As this is done the right arm stretches
object has landed on the floor, pick up the out to the right, parallel to the floor and A.fter cutting a rope into two pieces and
magnet and a sharp pull on the thread will a stream of smoke is expelled from the tying the two ends together in the time-
unlock it and the object will float up to right sleeve. honoured fashion, the following is a cute
the magnet. The secret is a length ofplastic tubing way to restore the rope.
which goes up one sleeve and down the Hold one end of the rope in the left
other. You must strap both ends ofthe hand with the other end lying on the floor.
A Pnedietion tube to the wrists quite firmly. The end of Place the left foot on the bottom end.
the tube you are blowing into should be a Now remove a blank starter pistol from
A large envelope is shown and it is ex- couple ofinches down inside the sleeve. your pocket and fire the gun at the knot,
plained to the audience that it contains Just stretch those lips out and grab the which falls off.
a prediction. A spectator is selected to end ofthe tube and blow. There are many cut and restored rope
assist. This spectator is asked. "Have you effects which explain the necessary meth-
any idea what's inside this envelope"? od of rying the knot-The Panama Rope
The spectator will answer, "No". A flom Doum Unden Mystery for one [in The Tarbell Course in
Iarge card is now removed from the Magic, Yol. z, page 368).
envelope and is seen to have the wordno He picks up a magic wand which has a
written on it in large bold letters. After bend in it, just like a boomerang. He ex-
the applause has subsided, he says, "Ifyou plains that it was a magic wand he picked Smoke Smoke Smoke
had saidyes, I was readyforyou". He now up in Australia. Having said that, he tosses
turns the card round to show the wordyes it into the wings. After a few seconds it This is another one ofthose incidentals
on the other side. comes flying in from the opposite wing. that are almost thrown away. That is to
You need two wands for this but if your say they are not the main feature of what
assistant is an athlete, only one. you are doing.
Windy (Bob Ostin) What happens is that you take a puffon
your cigarette so that your mouth is full
A small windmill on a stick, or pinwheel, The Pontable Gow of smoke.
exactly the same as you buy for the tiny Now open and close your mouth and
tots at the seaside, is waved around in the The performer enters carryingwhat ap- some smoke will be expelled from your
air but refuses to spin. pears to be the working parts ofa cow mouth. The hand which is not holding the
It is now held high in the left hand and in his left hand. He places a glass on the cigarette, reaches up and grabs a handful
the performer gives a short sharp blow table and starts to squeeze one ofthe of smoke and apparently pushes it into
down the right sleeve, and the windmill you-know-what's and a stream of milk is your ear, flattening the palm against your
starts to spin. You get one ofthose tiny emitted into the glass. ear as you do so. At the same moment the
motors used by model makers. This is The left hand is now raised to display mouth opens and expels the remainder of
fixed at the top of the stick with the the equipment which suddenly deflates the smoke.
windmill blades attached to it. The wires and is seen to be a rubber glove. It's as if it were the same smoke.

286 coMEDYMAGTc
 A Gigarette Tiryist That's how it used to be done. Sock It
Today, a magician's reel is used instead
This one is in the same category as the of elastic. To perform it as a magic trick, This used to be a standard item in the
last one; you sneak it in where you can. the flower is set under the armpit, and a magic shops but hasn't been around for
You have a lit cigarette in your mouth. duplicate is placed in the buttonhole in years. It is a variation on the standard
You puffon it a couple of times. You now the lapel. A handkerchief is removed from Colour Changing handkerchief. Instead
turn it round and puffon the other end. the pocket and held by all four corners. of the handkerchief changing colour, it
This can be repeated ad lib. The flower is removed from the lapel and changes to a sock. You now lift your trou-
How? Hold the cigarette in your mouth. dropped into the folds ofthe handker- ser leg, and the audience see that you are
The right hand comes up palm to the chief. The handkerchiefis now shaken minus a sock, but there is a handkerchief
front and clips the cigarette between the out to show that the flower has vanished. tied round your ankle.
first and second fingers. The hand now The handkerchief is held by two corners As the magic shops don't seem to stock
turns completely over and replaces the and opened out flat in such a fashion that this item any more you will have to make
same end of the cigarette back in your it covers the lapel and under cover ofthe it yourself. Get hold of a Colour Changing
mouth. handkerchiefthe arm is raised to release Handkerchiefand copy it but use a sock
the flower, The handkerchief is now low- instead ofone ofthe handkerchiefs. Use
ered to show that the flower has returned a thin nylon sock of a bright colour and
Expensive Pnop to the lapel. make sure it slips through the ring in the
For those ofyou who don't know, the other handkerchief easily.
The table is elegant, if a trifle old fash- handkerchief is a Devil's Handkerchief,
ioned. It has a black velvet drape with a available from most magic shops.
gold fringe. The first time the writer ever saw this The Legend
After the Great One has made some- effect it was performed by a comedian.
thing disappear, he opens his jacket to He removed the flower from his lapel, A picture frame is shown back out and is
show it isn't there, he pulls back his tossed it into the air and as it descended, said to contain the photograph ofa well-
sleeves ditto. He even lifts up the front he raised his knee quickly and the flower known personality. A number of postcards
ofthe table drape to show it isn't there bounced offhis knee and downwards to of well-known people are shown and one
and the audience see the words Fairy be kicked up in the air by his foot. As he ofthem is selected, and the great one an-
Li4uid (dishwashing liquid) printed on a did this last action, he removed his hat nounces that whichever card is selected,
cardboard table base, almost shouting at and caught the flower in his hat which that will be the picture in the frame. The
them. If the words are upside down, it's was replaced on his head, raised his arm chosen celebrity is now named, and it
almost as if you didn't really mean them and another flower appeared in his lapel. turns out to be Houdini. He picks up the
to see rt. frame and with a long verbal build up and
Just get a cardboard carton, remove the a great flourish he turns the frame around
top flaps, turn it mouth down and place it The Vanishing as he announces that it contains a picture
over the top ofyour existing table top. Handkenchiel of the great Houdini.
The picture frame is actually empty. He
He holds a walking stick at the knob end looks at it and exclaims, "Good Lord, he's
No Smoking in his Ieft hand. The stick is pointing escaped again'1
upwards at an angle. He drapes a small Need we e>rplain that the picture of
Milbourne Christopher used to remove a handkerchief over the ferrule end ofthe Houdini is "forced"?
cigarette from a packet, but the cigarette stick and, holding it aloft, he announces
turned out to be a long length ofrope. that on the count ofthree the handker-
The rope was simply folded up in the chief will disappear. He counts to three The Acnobatic Glove
packet, but for that first moment it looked and nothing happens. Announcing that,
like a cigarette. "Some you win, some you don't", he takes This is the type of effect which was typi-
the handkerchief and replaces it in his top cal of Music Hall magic acts. They had a
pocket. tendenry to string together a number of
The Buttonlrole Suddenly he starts searching around short sharp visual effects for the opening
for the walking stick which has disap- oftheir act.
This is an old music hall comics'gag. A peared, eventually giving up. In removing his gloves, one of them
flower is attached to a Iength of elastic, A magician's Vanishing Cane is the accidentally dropped to the floor. With
which, in turn is threaded through the Ia- answer. a wave ofhis hand the glove floated up
pel buttonhole. The elastic is fixed to the In the action oftaking the handkerchief to his hand, to be placed into his top hat
jacket and the elastic can be stretched so from the end of the stick with the right along with the other glove and handed to
that the flower can now be placed beneath hand, the right hand is brought back to his assistant.
the armpit. By raising the arm the flower the Ieft hand which takes it, plus the col- The method was simple but does need
will pop out from the armpit and appear lapsed walking stick, and places it back rehearsing. There is a thread attached
in the lapel. into the top pocket. to both gloves and hangs down between

coMEDY MAGrc z8Z

them. One glove is removed from the ping back about fifteen feet from the hat to show a flat piece of paper, the ciga-
hand and dropped to the floor. The thread you explain that you are going to toss one rettes have vanished.
is now between the glove on the hand and card at the hat and that it will land in the He replaces the cone, (paper) onthe
the glove on the floor. The hand minus hat first time. So you toss the first card table and makes a short announcement.
the glove is now placed under the thread. and it misses. You try a second card and "Ladies and gentlemen, before I pro-
This hand is now raised and at the same it misses. You announce, "If I miss the ceed with the remainder of the entertain-
time the gloved hand is lowered, and the next one I'll shoot myself", and ofcourse, ment, I would like to say to everyone who
glove on the floor will be pulled up to you miss on the third one also. Without a contributed a cigarette ... thankyou.
the waiting bare hand. This glove is now word, you walk offstage, and a pistol shot You can buy a prop called the Tarbell
placed into the other hand, the one with is heard. You now walk back onstage smil- Cone from most magic shops, which is
the glove, which is removed and both ing, to say, "I missed again". exactlywhat you need for this.
gloves are dropped into the hat.

H.G. Wells Outdone God Bless Cardini

The Flash Box
T\vo silk handkerchiefs are shown and are With a box of matches in hand, he tries to
A small silk handkerchief is placed into a placed on your table side by side. You now strike a match alight. After a few attempts
small box, which is held in the left hand. reach into your pocket and remove what he discards the box. He now reaches
The right hand makes a magic pass over you call a third, "invisible handkerchief". down with the right hand holding the
the box. There is a flash and a puff of In fact, you are holding nothing. You now match and, and lifting up his left foot in
smoke. Looking into the top of the box tuck this invisible handkerchiefinto your a sort of cross legged fashion, he tries to
the performer reaches in and pulls out left fist, blow on it, and open your hand strike the match on the sole of his shoe.
the handkerchief, which is all tattered and to show that it is no longer there (?). You As he straightens up with an air of expec-
burnt. explain that the invisible handkerchiefhas tancy that the match will be alight, the
We are going to leave you to work out disappeared from your hand and that it is audience see that he is holding a lit match
the mechanical details of this one, but now tied between the two handkerchiefs in his left hand.
we will help a little. Looking into the top on your table. You will have to make yourself a match
of the box it is in three divisions: one to You now grab one corner ofone ofthe striker from two striking surfaces of a
take the real handkerchief, one to hold handkerchiefs on your table and pull it matchbox. They are taped together at one
the burnt haldkerchiefand the third one upwards offthe table with a flourish. Both end so that the striking surfaces are face
contains a cigarette lighter and a piece of handkerchiefs will hang down, one below to face. Place the head of a match stick
flash paper. Now take it from there. One the other, with a blank space between between them and wrap a rubber band
last thing: there's a hole in the back ofthe them. The blank space is the invisible around them. At the taped end you have
box to operate the cigarette lighter with handkerchief. a safety pin which will hold the gadget
your forefinger. All that is required is that you have a pinned to your trousers just under the
very fine thread between the two hand- bottom edge ofyourjacket, slightlyto the
kerchiefs from the start. rear.
The Eqg Trictr Ifyou reach under the edge ofthe
jacket and pull the match stick down and
This one has been around for years but Striking It Luclqr out of the gadget it will come out alight.
most performers are afraid to try it. You Now go through the actions e>glained at
have an assistant from the audience. You Announcing that he needs several ciga- the beginning and make'em laugh.
place a glass on his palm and ask him to rettes for his next effect, the performer When the writer performed this effect
hold it steady. You now crack an egg into picks up a paper cone from his table and he used to try and strike the dead end
the glass. Now lift the glass offhis hand collects cigarettes offered by the audience of the match on both the box and the
and he is left with egg dripping all over in it. He emphasises the fact that he wants sole ofthe shoe. This saves you having
the place. The glass has no bottom. as many different brands as possible. As to remember to put dead matches in the
If you don't have the guts to do it, try he collects them he calls out their brand box. When you straighten up, you should
this. You hold the glass and give the spec- names. Rothman, Players, Pall Mall, be looking at the unlit match in the right
tator the egg and ask him to crack the egg Camel, PIay - no, no, we already have a hand. You now look at your left hand and
into the glass. When he does so, you lift Players. What's that, a Marlboro, that's show surprise at finding a lit match there
the glass and discover it has no bottom. fine, and so on. in your best W.C. Fields manner.
Once he has collected as many as pos-
sible, as quickly as possible, he retums to
Missing the platform. He now announces the pre- A Tissue Of ... ?
sentation of one ofthe greatest miracles
You place a top hat on the floor mouth of modern times. 'lMatch", he says, as he In the course oftearing up a piece oftis-
upwards. You are now going to demon- holds the cone up for all to see. With a sue paper and restoring it, the performer
strate your skill with plalang cards. Step- deft flick ofthe wrist, the cone opens out accidentally drops what are apparently

288 coMEDY MAGrc

the pieces on the floor. After a show of is a folded up cloth. She places the table AnothenT&RPapen
slight embarrassment, he picks up the down and he picks up the cloth and steps
pieces and opens them out to show it is a forward unfolding it. The assistant picks He tears up a small square of paper and
complete square of tissue. up the table and edts. places the pieces in his mouth. After a few
You need three pieces oftissue about He announces he is going to produce a unintelligible mumbles, he removes the
a foot square. Paste two ofthem together bowl ofgoldfish. paper from his mouth and opens it out to
with a tiny spot of paste just off centre. He drapes the cloth over his left show it is completely restored. After the
Now crush one ofthem up into a tiny forearm. Reaching behind the cloth with applause has subsided, he starts to talk,
ball so that there is now a ball oftissue the right hand, and after a little fumbling, with difficulty because in the course of it
attached to the square oftissue. The he holds up both arms, still under the he is spitting out pieces of paper.
remaining tissue is also crushed into a cloth, and announces that he has it. He All you need for this is to have a folded
ball. Have them in position on your table steps backwards, obviously looking for up duplicate paper behind the original.
so you can pick up the square plus the his table. He looks around, and stepping After the tearing you place both papers
loose ball in the finger palm position, in forward, states that as he has nowhere in your mouth and remove the duplicate
the same hand. to place the bowl of goldfish, he will just only for the restoration.
You are holding the square oftissue be- have to make it disappear. He now shakes
tween both hands. The loose ball is in the out the cloth to show that the bowl of
right hand, and the duplicate ball, which goldfish is no longer there. The BneakawEf Wand
is going to appear as the restored tissue, is
hanging near the centre ofthe square on The Breakaway Wand has been a regular
the side away from the audience. A Con Tfictr standby of children's entertainers for
Using both hands, start to tear the a long time. Many comedy magic per-
square of tissue up into several small This effect really is a con trick, on the formers have used it too. What is being
pieces and crush them into a ball. When audience. On the table is a hat, mouth suggested here is a variation which is for
you have done this simply turn it over to upwards. He suggests to the audience adult audiences. It is simply a three-piece
bring the other ball to the front. Open that a good gag at a party would be to BreakawayWand.
this ball out to show that the pieces are pour a glass of milk into someone's hat, One piece consists of a white wand tip
completely restored. In fact the pieces are and he does just that-he pours a glass of plus about three and a half inches ofblack
now hanging as a ball on the back ofthe milk into the hat on the table. He funher wand. The second piece is nine-inches
square. explains that the owner of the hat doesn't long and all black. The final piece is just
In the action ofopening out the square, know that there is already a glass in the one white wand tip. If these three pieces
drop the ball oftissue which is concealed hat. are assembled as a BreakawayWand
in the right fingers. After the restoration, He now reaches into the hat and brings (strung together through holes aloing
look down at the ball on the floor. Crush forth a glass of milk. Stepping forward he their lengh), with the single tip held in
the tissue you are holding and place it in states that it is real milk, "Here, taste it", the hand, you have a wand which breaks
your pocket. Now pick up the ball from he says, as he tosses the milk from the at one point only, which is a little more
the floor. Look at the audience, look at the glass over the nearest spectators. In fact, than halfivay up the wand.
tissue, and slowly open out the tissue to it is confetti which shoots from the glass, Holding the wand in one hand with the
show it is a complete square. because the glass of "milk" is really a glass single tip at the bottom, you can make the
which has been painted inside to look as if upper section fall over and stand upright
it were milk and then filled with confetti. again, at will. In this instance the wand is
Tale Of A Fistr This glass is already in the hat alongside never at anytime handed to a spectator. It
an empty glass into which the milk is happens to the surprise ofthe performer
Tommy Cooper used this gag in his very poured. or as a pointed addition to his patter.
early days. Showing a cloth on both
sides, he draped it over his arm and said,
"Watch, a bowl of goldfish", at which The Vanishing (?) See The Pnetty Thturg
point he would reach under the cloth and
produce the skeleton of a fish. It was actu- This stunt can be applied to almost any This gag was originated by the late Roy
ally cut out of thin plprood and painted small object. Benson and has been used by almost ev-
white, and held in place under the jacket The object is apparently tossed into the ery comedy magician there ever was.
until required. air and vanishes instantly. As the perform- A large candle is held in the left hand.
er now turns to pick something up from The right hand drapes a cloth over it so it
his table, the spectators see the object is completely hidden from view.
Ia5r's llale hanging on his back. After the magic words have been ut-
The answer is a tiny hook attached to tered, the cloth is removed and the candle
This is another oldie, from the late Jay it. Just hook it on your back as the hand has changed to a long stemmed feather
Marshall of Chicago. An assistant enters descends just prior to apparently tossing flower. A.fter a slight pause, the cloth is
carrying a small table upon which there it upwards. tossed aside on the floor and there is a

coMEDY MAcrc 289

very loud clang as it hits the floor. are alljoined together, the following "bit", ber of spots on the handkerchiefyou will
The feather is inside the candle to makes a great pay-off. have to keep the money.
begin with and the candle is a heavy iron You are holding the deck in your right 'As a matter of fact", you say, "There
tube painted white. hand, in front ofyour body. The thumb is are actually 492 spots on the handker-
at one end, fingers at the other end, and chief". Pretend that someone has queried
the deck is hanging down. Reach over your statement. Look at them and say,
Those Blinking Rings with the left hand and take hold of the 'qrvell, if you don't believe me, here, count
bead which is at the back ofthe deck, and them yourself", and as you say this you
From his table he picks up rwo steel rings give it a strong steady pull. The deck will shake the spots offthe handkerchief.
which are linked together. He holds them start to gather together from the bottom We have used the phrase, "Shake the
in front of his body, one in each hand. He up until the whole deck is in the right spots offthe handkerchief", but this
tugs at them in opposite directions as if hand. action only applies to the Leopard Silk.
he is trying to separate them. He looks at Ifyou use the Colour Changing Handker-
the audience and says, "I've had them for chiefversion, you would actually stroke
years and can't separate them". A Feat Of Magie the handkerchief and toss the spots up
As he delivers the last word he is look- into the air.
ing at the spectators with one ring in each For this you require a large cloth or
hand and they are separate. "One day I'll headscarf. It should be at least three foot
get it", he says as he continues to try and square. To the accompaniment of a roll A SticIrI, Moment
part them, at which point they are linked on the drums, you hold the cloth in front
together again, and he is still tugging at of the lower half of your body giving it a After his entrance, he places his top hat
them in an attempt to separate them. slight shake every few seconds as ifyou on his tabletop, mouth upwards. A little
They are actually two rings from a link- were trying to build up a little suspense. later in the act he looks into the hat, picks
ing ring set and one ofthem is the key. Suddenly, you whip the cloth awayto it up and removes an item that is needed
one side after the fashion of a bullfighter, for the next effect. He replaces the hat on
and at the same time you jump sideways, the table.
The Eleetnie Deck, Again and the audience, who may have been Now that is a description of what the
expecting some spectacular production, performer appears to think has happened.
The Electric Deck, in case you have are surprised to see a pair of shoes sitting What he doesn't know is that when he
forgotten, is a deck ofcards which have on the floor. They are, naturally, your own lifted the hat offthe table, the tabletop
all been stmng together to enable you to shoes, which you have slipped offbehind came with it, stuck to the crown of the
look skilful. It isn't worth the time and the cloth. hat. When he replaced it he was actually
trouble it takes to make one. The late Mike Caldwell, from Hol- replacing the tabletop on the table stand.
Go to your nearest magic shop and lywood, one of the funniest men I ever We will leave you, dear reader to work
buy one, take it home and prepare it as knew, had an addition to this gag. After out the details ofthe stand fittings. A11
follows. he had produced the shoes he would look you really need to know is how the table-
Get a healy needle and thread-the down at them, and then slowly raise his top gets stuck to the hat. The answer is
writer used black button thread-and head up until he was looking upwards into a very strong magnet inside the hat and
thread it right through the centre ofthe the air straight up above the shoes, as if a piece oftin sheet fixed to the table top,
deck. Ifyour deck has been made properly the person in the shoes had disappeared which is lighrweight.
this heavy thread will not interfere with up there.
the rest ofthe threading in the deck.
Now open the deck out to its fullest A Hat Trick
extent, so that you have the heavy thread Spots OfI
running through the whole length ofthe He wears a bowler hat - if you're Ameri-
deck. Tie a small bead at each end of the There are two different props available can, a derby hat. He reaches up with both
thread, making sure that the beads are from the magic shops in which spots are hands and takes hold ofthe brim ofthe
right up against the top and bottom cards removed from a handkerchief. One is a hat, one hand at each side, and raises the
ofthe deck. Cut any surplus thread away. variation of the Colour Changing Hand- hat an inch or two and a table tennis ball
What you have now is an Electric kerchief and the other is Leopard Silk, appears on top ofthe hat.
Deck with an extra thread running right devised by Alberto Sitta, of Bologna. In The method for this is that the ball is
through the centre ofthe deck. You can effect, you offer aprize offifty pounds to attached to a reel, which is fixed inside
now handle the deck exactly as before. the first person who can guess the exact the hat at the centre of the crown. The
This extra thread will not interfere with number ofspots on the handkerchief. thread is taken through the crown and
the handling. You will get people calling out all fixed to the ball, which will now sit on top
Assuming that you use this deck in the kinds of numbers, both high and low, to of the hat, at the centre. To set the effect,
standard fashion, which is to demonstrate which you keep answering, "Sorr/', "No", you pull on the ball which in turn will pull
a few flourishes, and then accidentally (on '\Mrong", etc. Eventually you announce the thread from the reel. Place the ball
purpose) expose the fact that the cards that as no one has guessed the exact num- inside the hat, with the thread travel-

29O COMEDY MAGrC

ling over the brim at the rear ofthe hat, fact that the effect is short. The effect Gue Fon Magle
keeping the tension on the thread. Place utilises a walking stick with a white ball
the hat on your head and the ball will be type knob at one end. In performance, the If you have to use a magic wand at any
trapped under the hat. The moment you stick is held by the fermle end with the time, just before you wave it, reach into
lift the hat offthe head the reel will pull knob resting on the floor. The performer, your waistcoat pocket and remove a bil-
the ball out from under the hat and up on suddenly realising that he is holding the liards chalk and chalk the end of the wand
top ofthe hat. stick upside down, looks at it, and gives in the same fashion as a billiards cue. If
Ifyou take hold ofthe brim ofthe his head a shake, to indicate that the knob you don't wear a waistcoat, just mime the
hat at the front in one hand, and just tip should be at the other end, he causes whole action.
the hat ever so slightly as if you were the knob, apparently unaided, to travel
acknowledging someone, that is enough upwards to the upper end of the stick, in
movement to release the ball from under its rightful position. That Rope Tnick
the hat. The method is extremely simple and
The idea is, ofcourse, capable ofvaria- the required props easy to obtain. The "I am quite sure", he says, "That most
tion. A Scottish hat with a pompom on walking stick is actually a tube, which can of you are familiar with the trick where
top. A clown or Pierrot pointed hat with a be of metal or plastic, but as there is a a magician takes a piece of rope, cuts it
pompom on top. Any small object which little problem offriction, perhaps plastic in rwo and then restores it to one piece
has disappeared can be made to reappear would be best. Black plastic, just to save again, Yes? I'm sure you've seen it. Well, I
in this fashion. you the trouble ofpainting it. was going to do that one for you tonight,
The knob should be made of balsa but unfortunately they haven't given me
wood or any other lightweight material enough time to do all the tricks I wanted
Bill5t's Thimble and is simply a ball with a hole drilled to. But I didn't want you to be disappoint-
through it. The hole is large enough to ed so I thought you might want to see this
In the Flrsf Book ofWillinm, BillyMcComb allow the ball to slide up and down the one which I did earlier", and as the last
had a false finger idea. You have a false stick easily. The remaining requirements line is delivered, he picks up a length of
finger between two normal ones and al1 are a lengh ofblack nylon thread and a rope and displays it hanging down from
five fingers have a thimble on the tip. You weight that will slide up and down inside one hand to the floor.
look at them, and count them and, realis- the tube.
ingyou have six fingers on that hand, you By nowyou are probably ahead of me
lift the middle finger offand place it in in figuring out the method. And Anothen
your pocket. One end ofthe thread is attached to
What King Billy didn't tell you was one end of the weight by means of a screw Picking up a length ofrope he says, "I
how to get into that position. Well, I will, eye. The thread is now threaded through am going to show you the cutting a rope
because it is something this writer has the stick, out the other end and brought trick", as he is frantically searching his
actually used. You have a false finger, with back and attached to the other end of pockets for something. Eventually he
a thimble glued on the tip, in your waist- the weight with another screw eye. The explains that he has forgotten his scissors.
coat pocket on the left side. The thimble weight is inside the tube, and it will natu- "But don't worry/', he says. "If I had cut it,
is pointing down into the pocket and rally fall to the bottom. this is what it would look like".
the open end of the finger is sticking out You now place the ball on the other He tosses the rope away and picks up
ofthe top ofthe pocket. You are in the end ofthe tube and attach it to the rwo shorter pieces and displays them. "I
middle of a thimble routine and you have thread, which will be inside the ball. If would then tie the two pieces together
four thimbles on the right fingers. They you now turn the stick over the weight like this".
are apparently placed into the left hand will fall down inside the tube and the ball He now tosses the two pieces away
from where they disappear. The right will be pulled up to the top end of the and picks up another two pieces, which
hand, holding the thimbles concealed stick, provided your fingers are not in the have been tied together with the knot at
reaches into the Ieft side ofthe jacket, way. If the weight is heavy, and the knob the centre. "Then I would whisper some
picks up the false finger between two real is light, it will be drawn up to the top magic words and the rope would be com-
fingers and brings the hand forth from in- quite quickly. pletely restored to one long piece, like
side the jacket to show the four thimbles. It would take a considerable amount of this". He tosses the knotted rope away,
No one will ever notice that there are experimentation with different weights and picks up a long piece, which matches
five thimbles. Not until now do you draw and knobs to produce a prop where the the first piece he threw away.
attention to the fact that there are five, by knob rose up the stick slowly at an appar- Instead ofpicking up the ropes from
removing the middle finger. ently controlled speed. the table and tossing them away, you
In performance, when the stick is held could have all the pieces of rope distribut-
with the white knob on the floor, the ed around your body in different pockets.
Up Up Up Up Up fingers holding the stick apply pressure to The fumbling around from pocket to
the thread. pocket to find the right rope could be
The reason for the title is to make it ap- When this pressure is released, the made funny.
pear longer than it should be to cover the weightwill drop.

coMEDYMAGTC 29r
 The Indian Rope Tntctr Home fames ask a spectator ifthis is his card. The card
you are displaying is the Nine of Spades,
A four-foot length ofrope and a pair The performer removes a pen or a play- and he will answer, "No", because that
of scissors are all that are needed for this ing card from his outside breast pocket isn't his card.
gag. In performance, the rope is displayed and in doing so accidentally pulls out his You now ask him which card he chose,
and the audience informed that they are handkerchief, which drops to the floor. He and he will answer the Seven of Spades,
about to see the famous Indian Rope looks down at it and says, "Home James", because that is actually the card he did
Trick. Stretching the rope vertically be- and the handkerchiefjumps up, offthe choose.
rween both hands, the performer releases floor and into the pocket again. You now transfer the card to the other
the top end which immediately falls A locking reel is the method. The hand and say, 'TVhat do you think this is?"
down. This attempt to make the rope stay loose end ofthe thread is attached to the And the card you are showing him is
rigid in an upright position is repeated handkerchiefand is pulled out and pre-set the Seven of Spades, because t'wo ofthe
two or three times, always unsuccessfully. to the required length. If the handker- pips have been torn from the card, which
Eventually the performer holds the chieffalls from the pocket to the floor, now shows only seven pips. As you dis-
rope out towards the audience, hang- the thread will be hanging down from the play the card at the beginning, your four
ing down from one hand and says, "The pocket to the handkerchief, and it will be fingers cover the space that was formerly
Australian rope trick"? "No"? He tries the in the correct position for the left hand to occupied by the rwo pips.
Indian rope trick again unsuccessfully. He give it a slight tug which will release the
now holds the rope horizontally between reel and start the handkerchiefjumping.
both hands, "Chinese rope trick?" A rhbh Ttp
"I know what's wrong", he says. "The
rope's too long". He picks up the scis- Half and HaII This is a sequence ofevents which are
sors and cuts two inches offone end of slightly amusing individually but which
the rope. To do this, he bends the end of You can cut a plastic tumbler from top build up to what should be a big laugh
the rope over double, cuts it and discards to bottom and seal up both halves with finish. The words "Should be a big laugh
the scissors, so that he is now holding two pieces of clear plastic. You will now finish" are chosen quite deliberately, be-
one long piece of rope, plus the two inch have two half glasses which, when placed cause it doesn't take a lot of imagination
piece in one hand, side by side, "Here we together, will look like one complete glass, to realise that there is a certain amount
go" he says, "The Indian rope trick", and especially if they are both full of coloured ofacting ability required to perform this
at moment two things happen. Assuming liquid. successfully.
you are holding the ropes in the left hand, If you produce this self same glass, Ideally, it belongs in a silent comedy
the forefinger and thumb of the right magically, you can offer to share it with a act, but there is little doubt in the writer's
hand take hold ofthe top ofthe two inch member of the audience. Pick up a large mind that any professional performer
piece ofrope, and pull it into an upright knife and slice the glass through the with a reasonable amount of experience
position, and at the same time the finger middle and offer him half, while you drink could adapt it to fit almost any act. OK,
release the long piece ofrope which drops your half. let's describe what the audience see and
to the floor. The right finger and thumb then we will take it from there.
release their hold on the short piece of There is a table of the normal magi-
rope, whichwill remain in an upright The Eye Gand TfieIr cian's type, oblong top with a central
position. "Success". support column, with perhaps three or
A spectator is asked to select a card, and four projecting legs at the bottom. On the
without looking at it, place it face down table is a box, perhaps five-inches square.
WandenfuI on the seat of a chair and sit on it. He is The performer picks up the box, opens
now instructed to hold his head back as if the lid, removes a silk handkerchief from
A magic wand is displayed and the audi- he was at the dentists and open his mouth inside, replaces the box on the table and
ence are asked, "Do you know why there's wide. The performer now looks down into steps forward as if he is about to demon-
a long black piece in the middle of a magic his mouth and names the card. All that strate something with the handkerchief.
wand? No? It's to keep the rwo white ends is required here is for the performer to Unknown to the performer, but seen by
aparf'. know the name ofthe card the spectator the audience, the tabletop has tilted and
As this is said the performer removes is sitting on. Forcing the card or using a dumped the box on the floor and returned
the black piece from the wand and the stacked deck would supply this informa- to its normal horizontal position.
white tip at the top falls down to land on tion. The performer, sensing from the
top of the bottom white tip. audience that something is amiss, looks
The upper white tip has a hole drilled round, sees the box on the floor, Iooks
through it from top to bottom. It is Wnong Card Riglt Card slightlybewildered and picks up the box
threaded on a thin, stiff, black wire, which and replaces it on the table. He turns
is fixed to the bottom white tip. The There are several variations on this to face the audience and again the box
black piece has a slit cut into it for its full theme. You bring forth a card and hold it is dumped on the floor. Once again he
length, which accommodates the wire. up for all to see, and either announce or senses that something is wrong, turns and

292 COMEDY MAGrC

spots the box on the floor. Again he picks which help cover a blank spot. Ifyou need There is one point that is very impor-
it up and replaces it on the tabletop, but to light a candle, place a small piece of tant to this gag. When you drop the rwo
this time he stands and looks as the box is flash paper around the wick ofthe candle. coins on to the plate initially, drop them
dumped on the floor, watching fascinated As you light the candle with a match, the onto the plate one at a time. The sound
as the table top flips back to its original flash paper will flare up causing surprise of a coin dropping onto a plate is quite
position. to both you and the audience. It isn't distinctive, and it is at that moment that
He bends down, picks up the box and, much, but it's called comedy. the audience KNOW that it is a real plate.
holding it in one hand, he wiggles the It sells the gag when you throw the plate
tabletop up and down with the other out later.
hand. A look ofunderstanding crosses his Anothen OOOOOOOHH!
face. He suddenly realises that it is the
weight of the box on one end which is Wrap a rubber band around half a dozen The Boomenang Cand
causing the tabletop to tip. So he reaches matches and place them in the matchbox.
over and places the box on the other When you need to light a cigarette, for If you perform any kind of card manipula-
half of the tabletop and turns to face the instance, open the box, remove the little tions, it is more than likely that you have
audience with the handkerchief. He pro- bundle and strike them as one match. You learned to toss a card into the air and
ceeds to tie a knot in the handkerchief or will get a flare effect, which is funny. This have it come back to your hand, boomer-
perform several actions with it, and while gag was used regularly by the late Ken ang fashion.
he is thus occupied he doesn't notice that Brooke. If so, this is for you. First, demonstrate
the box has staned to crawl slowly across the fact that you can boomerang a card as
the tabletop. When it reaches a point well described. Explain that you will now make
beyond the halfivay mark, the tabletop A Plate it ten times more difficult, by performing
once again tips and dumps the box on the it blindfolded.
floor. After performing an effect which has You now don the blindfold, tying it
That is a description ofwhat happens, received applause, the performer reaches quite securely behind your head. If you
so let's get down to the actual mechanics, into a box on his table, produces a plate, have live music, get the drummer or
which are really quite simple for anyone and rushes forward, hand outstretched pianist to give you a roll, as a build-up to
with just a little experience of D.I.Y. First, with the plate, as if he wants to take up a the effect. As the card comes back to your
the table. collection. He offers to start it offhimself hand, have them play an extended chord.
The tabletop is hinged to the stand. and reaches into his pocket and drops You now turn to face the front and expose
Anything placed on one side ofthe table a couple of silver coins onto the plate. the fact that there is a large hole in the
will cause the top to tip and the object Commenting on the fact that they are a blindfold.
will fall to the floor. lousy lot with no appreciation for talent, In performance you simply stand with
Ifthe top has a stop on it to prevent he removes the coins from the plate and your left side to the audience as you don
it achieving a vertical position, it will fall replaces them in his pocket and is just the blindfold, which has hole where the
back to its original horizontal position about to replace the plate in the box right eye is. This gag is suitable for any
on the top of the stand. The performer when he suddenly says, "Anyone want item that requires just a little skill, like
is unaware that the object has fallen to to buy the plate? No?" Again he is about juggling three balls, or balancing some-
the floor until he turns and spots it. The to replace the plate in the box and asks, thing on your fingertip.
object is now picked up and replaced on "Would anyone like the plate as a pres-
the table and the gag repeated. ent?" No matter what the response, he
The box? It has a small toy car inside accepts that someone has said'!es" and Narne A Gand I
with holes cut in the bottom to allow the says, "OK, catch it", and tosses the plate
wheels to project. You must have a means out into the audience. The surprise will Spread the cards in a fan, backs out, in the
of switching it on from the outside. A hole change to laughter when they realise that left hand, and with the right hand pull up
cut in the side ofthe box to allow a finger it is a paper plate. one card from the centre ofthe fan and
to be inserted to operate the up-and- You need a cardboard box and two leave it projecting, still back out. Point to
down switch is what the writer used. If plates. One plate is real crockery and a spectator and ask that person to name
you use a battery-operated toy, pack the the other one is paper, and they should any card in the deck. Assuming they call
inside of the box with foam sponge, which look alike. Both plates are in the box and out the Four of Spades, look at the pro-
will both kill the sound of the motor and the two coins are in your pocket. Just jecting card and say,'oWrong", and push it
help protect it. Make sure that the batter- follow the description ofthe effect above back down into the fan.
ies cannot be jolted out of position by the and you will realise that you attempt to
box hitting the floor. replace the plate in the box twice. On one
ofthose occasions youjust leave the real Ditto 2
plate in the box and pick up the paper
oooooooHH! plate. Before you perform this effect, When the card is named, smile, and say,
practice throwing the plate out a few "Correct", as you push the card back
This is one of those little incidental items times. down into the fan.

coMEDYMAGTC 293
 Ditto 3 kerchief it appears to be the same size repeat the action before discarding the
as before, but you point out that it really props.
When the card is named, look philosophi- has got smaller. To prove your point, you
cally at the card as you push it back down reach into your pocket and bring forth
into the fan, saying, "Someday, some- the "first" handkerchief which is really Ihe Gannonball llluslon
where, I'm going to get lucky". another larger handkerchief, proving that
the other one had got smaller (?). For this effect you require a ball that can
be described as a cannonball. It couldbe
The Gard Is? made of wood, plastic, or be a rubber ball
A Dodgr Rope painted black. Your assistant enters hold-
with a spectator alongside you, have ing the ball berween the palms of both
him take a card but instruct him that A three-foot length of rope has a six-inch hands held in front ofthe body. The per-
he must not look at it. Once he has the piece of wire inserted in one end. The former removes a scarf from around the
card, take it from him and, holding it wire is bent slightly so that when you hold assistant's shoulders, and drapes it over
face down, ask him,'TVould it be a good the rope in the left hand, at the bottom the assistant's hands holding the ball.
trick if I told you the name of this card?" end of the wire, it will lean offat a slight The scarf is nowwhipped awayfrom
When he says, "Yes", which they usually angle. The right hand approaches with a the assistant's hands and the cannonball
do, turn the card face up, look at it, and pair of scissors and attempts to cut the has vanished. The performer now drapes
say, "Three of Clubs", or whatever the rope a few inches from the top. The left the scarf around the shoulders of the
card was. forefinger and thumb rotates the wire/ assistant, who edts with a large lump
If, when you ask him the question, rope and it looks as ifthe rope has turned showing under the scarf on the assistant's
he says, "No", say, "OK, I won't do it", away from the scissors. back.
replace the card in the deck and carry on The right hand moves over and tries The method is very simple. The ball is
with whatever comes next in your routine. again, but the rope moves back to its on a loop ofthread which is around the
original position. This can be repeated assistant's neck. Just prior to covering
several times, and can be used at inten/als the assistant's hands holding the ball, the
The lltllndbag as a running gag. scarf is held momentarily in front of the
hands, hiding them from view. At that
You blow up a paper bag, twist the mouth moment the assistant tosses the ball over
together, place the bag on your table, and Dodry RoPe 2 their shoulder, where it hangs on their
it immediatelyjumps offthe table. Allyou back. The rest is called comedy.
need is a paper bag and a round balloon. This is the same gag but the method is
The balloon is inside the bag to begin different and is more suited to the stage
with. Pick up the bag and reach in and performer. We will describe the method AII Seetng Blindfold
pull the mouth of the balloon up to the first. A four-foot length of rope has a
mouth of the bag and gather the mouth thread attached to it about six inches Ifyou perform an effect where you have
ofthe bag together as you would to blow from one end of the rope. You will have to don a blindfold, make a big deal of it.
it up. Bring it up to your mouth and blow to experiment to get the right length of Having the assisting spectators check that
up the balloon, which in turn will inflate thread but around rwenty inches would there is no wayyou can see through the
the paper bag. Hold both the bag and the be right for most people. The other end of blindfold, etc. Once they are satisfied that
mouth of the balloon together in one the thread is attached to the scissors. you cannot possibly see, reach into your
hand and place it on your table. As soon Hold the end of the rope in the left pocket and bring forth a pair of spectacles
as you release your hold on it, the air will hand with the thread attached six inches which you place over the blindfold and
escape and the bag will jump off the table. below the left hand. The scissors are proceed as ifthere was nothing unusual
Pick it up from the floor and repeat it. held in the right hand. Bring the scissors about your behaviour.
around in front ofthe left hand, and over
the left wrist and back, more or less to its
The Diminishing original position. The thread should now BabUr Baby
Handlrenchiel be looped from the scissors, over the back
ofthe left hand and wrist, down under the A real old fashioned magic gag was to
Show two smallish handkerchiefs to be hand to the rope. Ifyou have your posi- produce a long line ofbaby clothes, or,
exactlythe same size. Place one of them tions right, a slight downwards action of correctly, a long clothesline with a 1ot of
in your pocket and explain that you are the right hand will result in the rope being baby clothes hanging from it, from inside
going to tuck the remaining handkerchief pulled upwards and sideways to the left. a spectator's jacket. The pay-offwas to
into your left fist, give it a squeeze, and it The downwards action of the right reach in and produce a babfs bottle.
will become smaller. hand is made in an attempt to cut the All you need is a baby's bottle made of
You proceed to do just that. You tuck it rope. Now bring the right hand upwards plastic. Cut out the bottom and paint the
into your fist, give it a squeeze and open and back a little and the rope will resume inside of the bottle white. When it is dry
your hand. When you display the hand- its vertical position. Look puzzled and and not before, you can stuffinto it the

294 COMEDYMAGTC
long line of baby's clothes. You push the usually called bangers. All you have to the thumb and forefinger push on the
bottle up the back of a spectators jacket do is cut one of them openwith a sharp first black segment next to it, the wand
with the left hand, and your right hand knife, and the black powder which falls will become rigid. If the tension is relaxed
reaches into his jacket on his left side and out is what you use. the wand will collapse. If it is handed to a
pulls the line ofclothes out, and eventu- Take a piece offlash paper about three spectator so that they will hold it towards
ally' the bottle. inches square, drop a pinch ofthe powder the centre it will fold over both sides of
The clothes needn't be the real thing, in the centre, and gather up the four their hand.
but miniatures made for the purpose. corners ofthe paper and give them a twist It is worth noting that most of the
This is also ideal for loading into a forming a sort of tail. Place this on a non- pieces are made on a nesting male-female
ladies handbag. inflammable surface and touch the tail principle, so that when the wand is rigid it
with the lit end of a cigarette. You will get will look perfectly straight.
a flash and a beautiful puff of smoke. Many other props have been based on
Bloomen? In fact, you could hold the small packet the same principle.
in your hand and, after applying the lit
Do a Torn and Restored affect with cigarette to it, toss it into the air. The
two sheets oftissue paper, one red and tail acts as a fuse for just a fraction of a Bneakanra5r Spoon
one white. As you restore them, small
a second and you will get the flash and puff
bundle ofpaper is seen to fall to the floor. of smoke up in the air several feet above This is almost a wand with a spoon at-
Looking sheepish you pick it up and un- your head. tached to one end, used almost exclu-
fold it to reveal a pair of red panties with sively in a Baking a Cake routine. The
white trimming. WARNING! GUNPOWDER CAN BE handling is exactly the same as the wand,
As you are unfolding the paper, say, "I DANGEROUS.IT MUST NOT BE USED but can only be controlled at one end.
think I've made a bloomer". Then open it BY CHILDREN, AND MUST BE KEPT
out to show that you have. IN A SAFE PLACE, PREFERABLY IN
AMETAL CONTATNER. DO NOT, RE- Bneakaura5r Gun
PEAT, DO NOT STORE MORE TIIAN
Milk? A VERY SMALL QUANTITY, AND Again, the same basic principle, but the
AI\A/AYS IN A COOL PLACE. USE THIS tension is kept on by the use of a lever
Pick up a full bottle of milk and a glass. ATYOUR OWN RISK! which becomes part of the trigger mecha-
Remove the top from the bottle and nism. By pulling the trigger, the tension
pour the milk into the glass. The comedy is released and the barrel ofthe gun col-
comes from the fact that it is beer that Bneakaway Pnops lapses.
comes out of the milkbottle. The milk Traditionally this prop was made of
bottle is painted white on the inside. If There have been so many different break- metal with a wooden handle. The bar-
you do this, make sure that the silver away props it would be difficult to list rel was chromed and the prop looked
top you use on the bottle looks good and them all, so we are mentioningthe main substantial. Instead of a cord running
natural. It mustn't look as if it has been ones that are in regular use. Just in case through the barrel, it was a very strong
tampered with. there is someone out there who doesn't wire. The more modern versions don't
knowwhat a breakaway prop is, it is a quite come up to the manufacturing stan-
normal looking object which, when oper- dards of days gone by, but they probably
Smoke Signals ated, breaks apart and falls to pieces, or get just as many laughs.
falls apart in some other way. Usually they Another version of this prop operated
There is often a need for a flash some- are designed to be handed to a spectator so that when the trigger was pulled, the
where in a comedy act. The normal who operates the prop and quite often barrel ofthe gun fell to the floor, leaving
procedure is to use flash paper, which can is embarrassed when the action takes the spectator holding the handle ofthe
be ignited either manually, with a lit ciga- place. Most of these props have become gun only. Most props of this type were
rette for instance, or electronically, either standard for the children's entertainer, designed to be handed to an assisting
directly or by remote control. Depending such as the breakawaywand, but there are sPectator.
on exactlywhat is required of the flash, it others.
can be greatly enhanced by the addition
of a puffof smoke. Bneakaway Wand Bneakarua5r Fan
To achieve this all you require is a small
amount of gunpowder. Don't panic when This has been the most popular of all This type offan can be opened and dis-
you read that gunpowder is to be used, breakaway props, and almost indispens- played by the performer. It is now handed
because it is quite easily procurable in able to the children's entertainer. It is to a spectator, and falls apart when they
very small quantities, which are harmless. simply a wand which has been drilled try to open it. It is made to open in one
How? From fireworks. The type usedby up through its centre with a cord passed direction only. When the performer hands
the writer are the type which go offwith through it and anchored at both white it to a spectator, he has already reversed
a loud bang, and unsurprisingly they are ends. If one of the white ends is held and the direction in which it will open, and is

coMEDY MAGrC 295

partly open. The spectator will naturally there may be a tendency to overdo the and a prop such as a Change Bag in your
open the fan in that direction, which will action by repeating it over and over again, left hand. The idea is that you are going
cause several ofthe segments ofthe fan but if it works for them, it works for them. to give the child the wand and you want
to fall apart. I have seen adult entertainers ply an her to wave it three times around the bag.
assisting spectator, usually female, with First of all you explain to her what you
a number ofbreakaway props, one after want her to do, and you demonstrate the
Bneakaway Box the other, with little rhl,rne or reason. action of waving the wand around the bag
The onlytime I have ever seen this work You now point the end ofthe wand
The breakaway box is a slightly more really successfullywas with comedy towards her and say, "You hold the wand
complicated prop, the building of which magician Roy Baker. A.fter several props and wave it around the bag like this".
maybe beyond the capabilities of the had collapsed, he would instruct the Iady What's funny is that as you instruct her to
average D. L Y. fan. It is basically a box to, "Bring over that stool and sit on it". hold the wand she will reach for it but you
which is held together either by springs When the lady lifted the stool it fell to continue by sayng, "And wave it around
or rubber bands attached to the insides of pieces, at which point Roy rushed offstage the bag like this", and you demonstrate
the box, which pull the separate compo- and rushed back with a full-length broom the action, so she cannot get hold ofthe
nents of the box together. When one of which he handed to the lady to, "Sweep wand. You are apparently not aware that
the pieces is removed the box collapses, up". When she tried, the long broom this has happened.
usually dangling in pieces held together handle collapsed in her hands. When Roy, This can be repeated several times and
by the rubber bands. by now frantic, helped her to picked up all the picture of a small girl trying to get
One piece, usually the upperrnost, has the props and put them on the table, the hold ofthe end ofthe wand as you prattle
some kind of handle, and is referred to as table collapsed. It was a build-up effect, on is averyfunny sight. Eventuallyyou
the lid. When the spectator is instructed fast and furious. let her have the wand and, ofcourse, it
to remove the 1id, the action takes place. I rang Roy Baker to ask if he would collapses. Take it back and make it rigid
mind if I mentioned the above. Not only again. This time ask her if she wants to
did he say, "okay'', but gave me the follow- hold it at the top or bottom. Whatever she
Bnedraway Seissons ing gag, which I have called: decides, give it to her and it will collapse
again. Take it back and make it rigid, and
A spectator is offered a pair of scissors hand it back to her and tell her to try
and instructed to cut a piece of rope. Bneakaway Bnedrawa5r holding it at the other end, and again it
When he tries, the scissors fall apart. The will collapse. Take it back one more time
simplest form of this type of scissors is It uses two breakawaywands, which and make it rigid again and instruct her
made by removing the central nut/bolt should make the magic dealers happy. You to, "Hold it in the middle", and this time
from the scissors, and replacing it with hand a magic wand to someone and it col- when it collapses it will droop over both
two or three matchsticks jammed into lapses. You apologise and explain that you sides ofher hand, which to the audience
the hole, which are broken offto be flush must have given them the wrong magic is unexpected, and actually looks funny.
with the metal. If anyone attempts to cut wand. Take the wand back, and hold it in At that point give up and hand her a solid
anything with them, just a little pressure your right hand. The left hand picks up wand and continue with whatever effect
will cause the two halves of the scissors to another wand and hands it to the specta- you had in mind.
fall apart. tor, and it, too, collapses; but as it does
There are actually several differ- so, the wand in your right hand becomes
ent types of scissors on the market and rigid again. Rabbit, Whene
available at magic shops, which allow the Ifyou want to, you can now retrieve Art Thou?
performer to cut with them and deny this the wand and hand them the wand in your
action to the spectator, and are usually right hand and repeat the gag. That's how The whole point of this routine is that it
described as Cut No-cut Scissors. The late Roy described it to me, then he rang a is a burlesque of a magician who is trying,
Bert Allerton had one ofthe blades cut couple ofhours later and said he had for- unsuccessfully, to produce something
offand soldered to the other blade. When gotten that he did it with two spectators. from behind a large cloth. In this instance
the spectator tried to cut with them, he He had one spectator blow on the wand the "something" is a rabbit, and to make
was quite perplexed when they wouldn't and it became rigid and the other wand, the whole thing look right he should be
work, especially as the handle part opened which was handed to the other spectator, wearing tails.
and closed - but the blades would not collapsed at the same time. You will require a large black cloth,
separate. about three foot square, and it must be
opaque. You also need a prop rabbit's
It's llftr Tirn Now head, the funnier looking the better, and
Iust A Thought preferablywhite. The rabbit's head is
While we are on the subject, this writer attached to a stick about twelve inches
I am sure you will realise that the collaps- used a breakaway wand for kid shows, and long. Attached to the end ofthe stick is
ing idea can be applied to almost any prop here's how. The child is on your left. You a short length of cord elastic. The other
or object. With children's entertainers are holding the wand in your right hand end ofthe elastic is fixed to the inside of

296 coMEDYMAGTC
the collar ofthe tail coat, at the back. If moment, and the rabbit's head pops out he says, "No", you toss it aside and reach
you now don the coat, the rabbit will be between the slit in his tails at the back. into the bag and produce another card.
hanging down your back inside the coat. Turning to face front and straighten- You look at him and shake your head. You
In performance, the cloth should be lying ing up, the cloth is still held over the Ieft finally reach into the bag and bring forth
handy on a chair or table. forearm. a bunch of cards, which you toss up into
The routine begins with the performer As the performer looks over the top the air and say,'lMell you find the bloody
picking up the cloth and displaying it ofthe cloth at the audience, the rabbit's thing".
on both sides with suitably exaggerated head suddenly pops up alongside the The 'lrallet" is as we have described it.
actions. The cloth is now draped over performer's head. They are both looking It is a nylon shopping bag which folds up
the left forearm, which is held across the at the audience. Nowboth heads turn into what appears to be a wallet. It has a
front ofthe body. The right hand is shown and look at each other for one second zip all the way round the outside, and a
empty and reaches behind the cloth as if and then turn away again, to look at the smaller zip on the side which is a change
to produce something. The performer's audience. At that point the rabbit's head pocket. I have seen them for sale in many
face should be looking over the top ofthe pops down out of sight and the performer different countries, in department stores
cloth with a fixed smile. immediately turns to look at the rabbit, and cut-price outlets.
The right hand starts to feel around which is no longer there. The performer
inside the left side ofthe coat, obviously actually does a double take, but the sec-
looking for something and, as this is being ond time he looks the rabbit has gone. In A Gneen Pain?
done, the cloth slips offthe left forearm the action of withdrawing the head from
and is 1eft hanging from the left hand. The sight this last time the performer releases He places a small pair of white socks
audience can see the right hand fumbiing his grip on the stick which will be pulled into a bag, box, tube, or whatever prop is
around inside the left side ofthe coat, round behind him out ofsight under the handy. He announces that he will change
and the performer is unaware of what has coat. them into a green pair. After suitable
happened. The performer now starts a frantic incantations, he reaches in and produces
Suddenly he looks down, sees what has search in the folds ofthe cloth for the a "green pear" (piece of fruit).
happened, withdraws his right hand from rabbit and eventually gives up and tosses The prop used can be almost anything
the coat and quickly drapes the cloth over the cloth aside. that will allow you to switch one object
his left forearm again. Ifyou analyse what has taken place for another. A plain old cardboard box will
Once more the right hand is shown it is an attempt to create a live cartoon. do, as it's meant to be a gag, not a full-
empty and reaches behind the cloth and Visualise the whole bit as being a cartoon blown miracle.
stafts searching around inside the coat and you will hit the right note.
as before, until it reaches a point where
the performer starts to look downwards Obedient Cands
behind the cloth. Gand In Wallet
To do this he raises his left forearm a While shuffiing a deck of cards the
little and, in doing so, hides his face com- Have a card selected and returned to the performer points out that to become
pletely from view so that all the audience deck. Palm the card offand reach into an expert card manipulator takes years
can see is the top ofhis head, or better, your inside pocket for your wallet. Leave ofpractice. He explains that he used to
his top hat if he is wearing one. the card behind in your pocket and bring practice for four hours every day before
At this point he reaches around to his forth your wallet, which you drop to the he had his dinner, and he has reached the
back and grabs the stick and brings it floor. stage now where every single card in the
round to the front, but hidden behind the Riffie the deck and tell the spectator deck will obey his commands.
cloth. His face reappears above the cloth that his card has vanished. Hand him "Watch this", he says, as he tosses a
and looks downwards over the cloth and the deck and make him look through it card up into the air. He watches it until
as he does so, the rabbit's head pops out to veri4/ that his card is no longer there. it reaches its zenith, then he says, "Come
from behind the cloth under his left el- When he does so, point out that your wal- down". As the card falls to the floor, he
bow. The performer now turns his head to let is on the floor. Pick up the wallet and spreads his hands apart, and looks at the
the right as if he is looking for something. open the zip compartment on the side audience, as ifto say, "Can I help it if I
The rabbit's head pops behind the cloth and remove a card, back out. Turn the have all this talent?"
again as the performer turns his head to card over and look at him and he will tell
the left to look downwards, and the rab- you that it is the wrong card.
bit's head pops out ofthe right side ofthe "I was only kidding", you say. "Look". The Flat Rabbit
cloth and back out of sight again. You now open the zip which is around the
The performer is now looking very em- outside edge of the wallet, and the whole There have been so many different pre-
barrassed indeed. With an apologetic look thing unfolds to reveal that it is a nylon sentations of this gag that it is difficult
at the audience he now turns his left side shopping bag, with wo handles. Show to know what to tell you. Basically, you
to the audience, lowering his head behind your right hand empry and reach all the produce a flat rabbit, which is actually
the cloth as if searching for something. way into the bag and bring forth a card, made fromwhite towelling. You look at
The body is bent forward a little at this face out, and ask him, "Is that it?" When it in surprise, and say: "I told mywife to

coMEDY MAGrC 297

take it out before she sent my suit to be be dragged upwards and not jump, as if it the attention was now directed back to
pressed". had a life of its own. the performer for a few moments, during
The eyelet must be well below the which time the plant just changed the
The Bab5r Gag top edge ofthe box, so that it is pulled rings over.
completely out of sight. You will have to
This gag came from an early Robert experiment to get the correct length of
Orben book. You explain that inside this thread. A Goin Tntek
large envelope you are holding is the pho-
tograph of a very famous film star. Point You need two spectators to assist you, and
to someone in the audience and ask them HanISt PanIry 2 you stand one on either side of you with
to guess the name of the star. Whatever all three facing the audience. You ask to
name they call out, you say "Correct. You In this instance, when the performer at- borrow a coin from each ofthem but you
are absolutely right. The photograph we tempts to pick up the handkerchief from stipulate that the coins must be different
have here is So and So (name the same the floor, it jumps around all over the values. You hold out both hands and they
star)", and as you pull the photograph ofa place. Again a thread is used, but this time place the coins, one on each hand. You
baby out ofthe envelope, you say,'lMhen perhaps a little shorter. The handkerchief now place both hands behind your back
she was six months old". is on the floor, and the other end is held and, unknown to anyone, you change the
That was exactly how ninety two in the right hand. The thread is looped coins over from hand to hand.
thousand comedy magicians performed over the back ofthe left wrist. The right You now bring the right hand forward
that effect, for manyyears. Then one day, hand reaches for the handkerchiefand, as in a closed fist containing the coin, and
a British comedy magician called Terry it does so, the left hand is moved slightly turning to the spectator on your right, you
Herbert added a kicker. He stuck a photo- to the left. This will cause the handker- open your hand so he can see the coin you
graph ofa black-skinned baby on the back chiefto be drawn across to the left. are holding as you say to him, "Answer
ofthe first picture. After doing the gag Ifthe handkerchiefis on the floor to me, yes or no, is that your coin?"
as already described, he added the line, your right, and the other end is held in He will naturally answer "No". Now
"Mind you, if you'd said, Sammy Davis, I your left hand with the thread travel- turn to the spectator on your left and
was ready for you", and turned the picture ling round behind your ankles, you reach repeat the action and the question, and he
round. There are now ninety two thou- across the front of your feet with the will also answer "No".
sand comedy magicians doing it this way. left hand and the handkerchief will jump Look at both coins in your hands and
around behind you to your Ieft. As with say,"Oh well, they must be mine", and
the previous method, a little experimen- place them in your pocket.
HanISt PanISt 1 tation will work wonders and you will
be surprised at the possibilities ofthis
This was devised by the writer in the days simple device. It's Hand5r
when he couldn't afford a mechanical reel.
Now, many decades later, it is possible The writer devised this gag for Colin
that this version is more practical than Dowlen's Rings Rose, when he was cruising and needed
most. In effect, a handkerchief is acciden- some extra bits for the other acts he had
tally O dropped on the floor. Eventually, This gag is straight out ofthe late Arthur to do. Colin did a silent manipulative
the great one sees it. He bends down to Dowler's Music Hall act. In the course of act, and this is a good example of using
pick it up and as he does so, the handker- performing the Chinese Rings, he would something you already have and changing
chiefjumps up, offthe floor, and into a hand three linked rings out for examina- it just a little bit to add surprise. Colin
box which is sitting on the table. tion to a sPectator in the front row or did a lot of card manipulations, so we just
You need a length ofblack thread, one more often, to someone sitting in one added a funny bit to it.
end ofwhich is attached to a corner ofthe of the boxes. A few moments later, he His assistant entered carrying a tray
handkerchief. The other end is threaded would ask to have them returned, and with a top hat sitting on the tray, mouth
through an eyelet which is fixed down they would be tossed unceremoniously upwards. Colin produced cards and
inside the box. This end has a small ball out into the middle of the stage. With tossed them into the hat.
or a large bead fixed to it, which enables a look of disdain towards the spectator, Suddenly a gloved hand appeared from
you to get hold ofthe end ofthe thread he would pick up the rings to continue, inside the hat and threw the cards out
easily and serves the additional purpose but on doing so would discover that all again.
ofpreventing the end ofthe thread from three rings, although still linked, were all The assistant held the tray on one side
slipping back through the eyelet. rwisted out oftheir regular shape. with her right hand, but what the audi-
In performance, the bead is held in Dropping them he would approach ence saw as her left hand and arm holding
the hand and, as the same hand reaches the spectator in a menacing manner to the other side of the tray were false. Her
for the handkerchief on the floor, the retrieve the three regular rings. This real Ieft hand went under the tray, which
handkerchiefis pulled up and into the was simply a case of planting the three was draped to hide the hand from view.
box. It must be done quite smartly. If you twisted rings in the audience. After the There was a hole in the tray and the top
move too slowly, the handkerchief will three regular rings were passed out, all of hat. She just waited until he tossed the

298 coMEDYMAGTc
cards into the hat and she tossed them pocket. If no one points out the situation parently burnt his right hand with the lit
out agaln. to you, and they usuallywill, you discover cigarette.
She entered with her left side to the it for yourself, at which point you take
audience, crossed to a position beyond hold ofboth handkerchiefs, with both
Colin, then turned round to present her hands and pull them back and forth sort Biggen?
right side to the audience so the dirty of through your body. Eventually you
work was being done upstage. release the handkerchieffrom one hand The first time I came across this idea, I
and pull it all the way through from one think it was in a Milbourne Christopher
pocket and out the other pocket, at which book. I have seen manyvariations on the
Good Evening point the audience should realise that it theme since that time, and what follows is
really is just one handkerchief. what the writer finished up doing.
I have seen a number of magicians per- All you require is one large handker- You have a spectator select a card, he
form this gag over the years, but the first chief and two smaller ones, plus two slits, retums it to the deck and you give him
person I saw do it was John "Sly''Smith, one in each pocket, cut high up. The large the deck to shuffie. We will assume that
perhaps thirry-five or forqr years ago. handkerchief is threaded through both the card selected was the Ten of Hearts.
He entered with a large thirty-six inch slits and the ends tucked down into the You take the deck back and place it be-
silk square, which he held in front of his pockets. hind your back and explain that you are
body. It had the words GOOD EVENING The two smaller handkerchiefs are going to try and find his card by sense of
printed quite boldly across it. He looked placed one in each pocket, in readiness. touch alone. You bring forward one card,
around, and said, "I can always tell when Now you take it from there. say the Three of Spades, and ask him if
an audience is going to be good or not". that is his card. When he replies, "No",
He looked around for a moment and you replace it behind you back and ask
said, "Goodnight". As he said "Good- A Hole In One him,'nVas it a bigger one than that?"
night" he gave the silk square a shake, and He will reply, "Yes", so you bring for-
the words changed from GOOD EVE- You have a handkerchiefwhich has a ward another card and when he dismisses
NINGto GOOD NIGHT. small hole near its centre. Hold the hand- this one also, you ask, 'Itr/as it a bigger one
He had the two silk squares sewn kerchiefby two adjacent corners and let it than that?"
together back to back, with the rear one hang down to display it, and that's when When he replies, "Yes", you ask him to
being turned so that the lettering was you spot the hole. "Oh look! There's a name his card. When he answers, "The
criss-crossing the front letters. A finger hole", you say. Ten of Hearts", you say, "That really is a
reel was held in the right hand with the You now cross your hands over, which big one", as you bring forth from behind
thread travelling down diagonally across will turn the handkerchief around to your back a Jumbo size Ten of Hearts.
the square to the other corner, behind the display the other side, and you say, "Look! How? You classic force the Ten of
square. There's another hole on this side too" Hearts from the deck and you have a
You release the top right corner and duplicate Jumbo Ten of Hearts in a clip
relax the pressure on the reel at the same under yourjacket at the back. Having said
moment, and the thread will puIl the Blanlr Him that, I may as well come clean and tell you
bottom left corner ofthe square up to the exactly how I used to perform this effect.
top right corner, and vice versa, which, in At any point in the actjust ask ifanyone The upper halfofthe deck I used
fact, brings the rear square to the front knew how that last trick was done, and if consisted ofall Tens ofHearts. All ofthe
with the lettering the right way up. It is all someone calls out,'Yes", and theywill, cards in the lower half of the deck were
done under cover of shaking the square pull out a blank pistol and shoot him. all lower than a ten. Actually the high-
with two hands. est value, I think, was a Seven. You force
a card from the upper half and have it
Sleightfy Diffenent returned to the lower half. You now hold
Poeket Magic the deck face out and give it a slow-ish
He reaches into the air and produces a lit shuffle, so that the cards can be seen to be
The effect is that you place a white hand- cigarette. He looks at it, smiles, and raises all different, as you only shufle half the
kerchief into your right trouser pocket, it to his lips and takes a puff. He now deck. The reason for having the card re-
say the magic words Hocus Pocus, and places the lit cigarette into his left hand, turned to the lower half of the deck is that
you remove it from your Ieft pants pocket. and performs a crumbling motionwith if they get a flash of it during the shuffle
Realising that it may have been too quick the fingers of that hand, at the same time they are convinced that the deck is being
for the audience, you offer to repeat it. blowing smoke from his lips at the hand fairly shuffied.
You now place the handkerchiefinto your as it is slowly opened to show that the
left trouser pocket, but without seemingly cigarette is no longer there.
without realising you accidentally leave He suddenly lets out a yell, and shakes Smallen?
halfofit hanging from the pocket. You his right hand and the cigarette is seen
now sayyour Hocus Pocus and pull the to fall from that hand. The point,just in This effect is exactly the same as the last
handkerchief half way out of your right case you have missed it is that he has ap- one, in reverse. This means that when you

coMEDY MAGrC 299

ask them the question, you change it to, Comedy Pnops made from a car aerial. When he plunges
'1Mas it smaller than that?" and the final it into someones body, he withdraws it,
denouement is that you produce a very l.Wine glass with a square base. It and it is only nine inches long.
small version ofthe selected card. doesn't make rings on the sideboard.
You could perform this in exactly the 16 A table tennis bat and ball are both
same manner as previously explained, I . Breakawaywand in silver glitter, with a coated with copydex or similar contact
but in this instance, there is a better way. star on the end for panto fairy queen. Just adhesive (rubber cement). He tosses ball
Everything is performed exactly as before one break, one third from the top. and hits it with the bat but it sticks there.
until you get to the climax. Instead of
reaching behind your back to produce 8. He lends someone his pencil or pen to 16. Growing tie. Show tie getting longer
the miniature card, you simply hold the write with but it has a long chain attached and tucked down the back ofjacket.
deck upright in the left hand, riffie the to it, trailing back to inside his jacket.
top ofthe deck with the right fingers, and r7. He places his Ieft hand into his trouser
suddenly the card pops up at the top of 4. A few loose keys at the end of a piano pocket. His right hand pulls up the left
the deck. keyboard. When he hits them they fly up leg ofhis trousers and you can see his left
To explain this to you simply, just pop a in the air. They are just strips of wood hand peeping out ofthe bottom ofthe
small size playrng card into the top end of painted white. trouser leg. He has a hole in his pocket!
a deck. Now riffie that end of the deck and
the small card will pop up. Occasionally 5. Fan mail. He holds abundle of letters r8. The sandwich book. Title on front. He
it may fly out of the deck, but a few trials in his hand and says they are fan mail. He opens the book and removes a sandwich
will enable you to guarantee it will stay at spreads them out and they are seen to be which he proceeds to eat.
the top of the deck. Just riffie it a fraction a fan.
slower than you have been doing. 19. He drops a cell phone (mobile phone)
The question now is how do you con- 6. The three cup bra. He removes it from into a jug of water and the water bubbles
trol that small card? You have two cards his top pocket as a handkerchief. as if someone was still talking. A rubber
stuck together at one end, or rather for tube leads off stage and someone blows
about one-third ofthe cards' surface. You Z Queen size cigarette. This is a large, into the end ofthe tube.
now have a double card which is closed maybe two foot long, cigarette with a
at one end and open at the other. Place filter tip at the top end, but it has a pair of
the small card into the open end of the breasts and a bum (rear end).
double card, and in handling the deck
always keep that card at the bottom ofthe t. He tries to blow a balloon up in one
deck with the open end towards you. hand and the balloon in the other hand
When the moment of truth arrives, you inflates. A rubber tube, up one sleeve and
simply cut the gimmicked card to the cen- down the other.
tre ofthe deck and turn the deck to bring
the open end of the card to the upper end e. He has an artificial bird perched on one
of the deck. Now riffie the upper end of shoulder. When he turns, he is seen to
the deck. have a long streak ofbird droppings trail-
ing down the back ofhis coat.

lo. A polystyrene window display,

dummy head. Plain white. The rwo eyes
light up. Battery operated.

11. T\ro plastic skulls. Large and smaIl.

Show man with one in each hand. The big
one is his grandfather, the small one is his
grandfather when he was a boy.

12. Eighteen carat necklace. This is a

necklace made from a piece of string and
eighteen real vegetable carrots

Lil. Torture chamber. This is a baby's pot-

tie with a very jagged rim.

14. Collapsable sword. This is a sword

with a proper handguard, but the blade is

3OO COMEDYMAGTC
t
Misdirection
A few 5rears ago I wrote and marketed which required that particular piece of David looked around and said, "Maybe
a small booklet called Misdirection. A,fter business as cover. Many people have come that's too difficult. I'll tell you what. I'11
a while I realised that it wasn't very good, up with similar mses to divert a specta- make the piano disappear". He turned
so I stopped selling it, and what we have tor's attention, but for entirely different and waved at the piano and the pianist
here is a rewrite ofthat booklet. reasons. I will never be able to count the fell forward offhis stool to the floor. The
I described misdirection as the for- many different ways a small piece of flash piano had vanished. After the event, they
gotten art. I have since decided that it paper has been used as misdirection. searched everywhere for that piano but
hasn't been forgotten, because most of In short, it is actuallybest if you come they never found it.
the people involved in this little wonder- up with some sort of misdirection which I have asked and gained permission
ful magical world we have never knew of you have worked out for yourself-for from David to explain what happened.
its existence. I should have called it The your own use-for a particular effect. The pianist didn't play during dinner.
Invisible Art. If someone else decides to perform the It was a tape recording. His hands were
It is a very diffrcult subject to discuss, same effect, the same misdirection will out of sight of the diners, so the mim-
because it is possible for two perform- usually work for them also, because it has ingwasn't too diffrcult. Who looks at a
ers to perform the same effect, but use been devised for that effect. pianist playing background music during
totally different misdirection to help The most impressive piece of misdirec- a banquet?
them achieve a result. I remember my tion I ever heard ofwas devised by David The piano was a fake, specially built
first meetingwith Mike Skinner; it was Berglas, now retired president of The for the purpose. While the chandelier was
r969,in Hollywood, and he was sharing an Magic Circle. shaking, half a dozen waiters walked in,
apartment with Ron Wilson and Charlie The venue was the main banquet room took the piano to pieces and walked out
Miller. He showed me an Okito Coin Box of a swanky London hotel, a roomwhich again. They hid the pieces under stairs,
routine, and I was suitably impressed. In featured a gigantic crystal chandelier in cupboards, under piles of dirty linen,
a short discussion about it, he asked me if as the centrepiece ofthe ceiling. A lone anlwhere.
I had spotted him switching the coin box, pianist was tinkling in the background, The shaking chandelier? There was
and I replied that I hadn't, which pleased at a grand piano, as he had been doing a guy standing on the balcony pulling
him no end because, as it turned out, he all through dinner. They had reached the a thread. Easy, wasn't it? But could you
had actuaily switched the coin box five coffee stage, it was time for the speeches, devise a piece of misdirection to match it?
times, and I hadn't spotted it once. and David was a guest speaker. Fortunately, most of us will never need to.
A few years previously I had been He pointed out that, as everyone pres- Thank you David Berglas.
in Chicago and met a young guy called ent knew who he was and what he did for
Bobby Wonder working in a bar. He did a living, he thought that instead ofboring The plan is simple. You have to decide on
various tricks, mostly of a manipulative them with a long speech he would show an effect that you wish to perform. You
nature, with coins, cards, etc., dur- them a magic trick instead - that is, if work out the method you are going to
ingwhich he also used a dark coloured they didn't mind. They didn't mind. In use to perform the effect. Ifthere are any
handkerchief, and every so often he would fact, the mere suggestion that a television snags in it, you have to devise a suitable
hold the handkerchiefby its centre so that star was actually going to perform for piece of misdirection to cover the snag.
it was hanging down. He would lower it them produced applause. Even in a straightforward effect like Three
gently onto the bar and as he lifted it off He explained that, as it was a special Cards Across, ifyou are going to palm the
the bar there would be a bottle of beer sit- occasion, he wanted to do something cards offthey mustn't see you do it, and
ting there. He did it again and again, and spectacular. ifyou are going to replace the cards they
finally produced a large carafe ofwater, "I know what I'll do", he said. "I'11 make shouldn't see that either.
which the handkerchief was barely able that chandelier vanish", pointing up- Words alone can be misdirection.
to hide. wards, with a smile, to what was probably There have been manyvariations of an
Both Skinner and Wonder had a secret: one ofthe largest chandeliers in London. effect of Paul Curry's called Out Of This
Misdirection. Everyone dutifully laughed. They World. This writer has used the original
Once you discover misdirection, and would, wouldn't they? He turned to the version for nearly fifry years, for one
begin to understand it, there is no going pianist and asked him to give him a drum reason only: It enables you, at one point
back. It will become a way of life for roll effect, on the piano. to say, "I don't want to touch the cards at
you as far as performing magic tricks is "Just watch this", said the master magi- any time. I want you to do it all by your-
concerned. It is not a subject that has cian as he stretched both arms upwards, self". We know that you do actually touch
been written about too much, and there is all fingers pointing at the chandelier. the cards, but theywon't remember that
a reason. You can't write about misdirec- Nothing happened. He looked around. fact. If they try to reconstruct the effect,
tion without pointing out that almost "It's not easy'', he said. They laughed the fact that you never touched the cards
every little bit of misdirection used by again. Once more he raised his arms. "Be will ruin any of their preconceived ideas.
anyone of note has been worked out by quiet", he said, "and watch". He shook his To put the art of misdirection into
them solely for their own use in a par- hands and the chandelier began to shake simple words, it is this:
ticular effect or routine. It may have been and tremble, and so did everyone sitting The best time to do a funny move,
used by others before them but it was of at that banquet. He tried again, and this sleight, steal, pick up, or what have you, zs
no use to anyone unless they had an effect time it also rattled quite audibly. when the spectators aren't looking.

MTSDTRECTTON 3O5
 Ifthe above dictum is true, and this I am trying to tell you what not to do. It left hand after the drop, your eyes must
writer believes it is, then it follows that has become almost standard practice to continue to follow the upward arc ofthe
when you want to do a funny move, raise your eyes to the spectator and talk left hand as if the ball were still there. It is
sleight, steal, pick up, or what have you, to them at the moment you execute a the combination of the two simultaneous
you should distract the audience's attenfion. "move". This is good, and is guaranteed to actions ofthe left hand and the head that
If you believe the first dictum, and act work one hundred per cent. But there is help sell the illusion that the ball is in the
on the second one correctly, there is a a time when it cannot be guaranteed, and Ieft hand.
bonus to be gained - and that is that the that is when you are working to a group
spectators will never be aware that their of people around you. You will fool the
attention has been misdirected from the person you are addressing, but possibly The Big Steal
action, which will in turn make the effect lay your craft wide open to the others. In
more miraculous. They will swear blind, this situation, you must address all of the The last effect in your act really is impor-
that they "never took my eyes offhis people around you, which requires a little tant. This is the one that is going to pull
hands". more body action and probably comes the applause. I have given the title'The
Here is a tme story. Around 1955, a non under the heading ofperformance. Big Steal'to what has become a standard
magical fried of mine and his son were I remember one verywell known magi- action, particularly with silent manipula-
watching Channing Pollock on television. cian who had a reputation for his Top tive-tlpe acts.
They had seen him before and couldn't Change, doing this time and again before The effect is the production of a large
figure out where the birds were coming magical groups, and being praised for his object from beneath a bundle of silk
from. He told his son to keep his eyes on technique. Everyone used to see the Top handkerchiefs. The object can be anything
Channing's left hand only and nothing Change action, but thought they only saw you like, from a football to a live cat. In
else, and he would watch his right hand. it because theywere magicians. I'm not almost every case in which this type of
His actual words to me when he was tell- sure what the reverse of "the blind lead- effect is performed, the pattem is almost
ing me were, "And as I said it, a bloody ing the blind" is, but I think this was it. identical. After producing a large bundle
bird appeared in each hand". I will try and give you a few examples of handkerchiefs, the performer reaches
Channing Pollock probably had to work of what I think is misdirection. The first under the handkerchiefs and produces the
out each little piece of misdirection in one I have titled, simply, "object".
the act independently, as each effect was IVe seen professional performers get
devised and added to the act. Ifyou can a big round of applause when they made
do this successfullywith just one effect A Ball Vanisfi their f,nale production, but they never
you will have taught yourself a lesson you realised, even after many years experi-
will never, ever, forget. This is actually a very old vanish of a bil- ence, that it was the object itself that was
Mention must be made of Cardini. I liard ball which was usually called a "drop a surprise, not its magical appearance.
never saw Cardini perform live, but I did vanish" because that is exactly what hap- The reason was that quite often the audi-
meet him when he was in London in the pens. The ball is thrown from the right ence were never in any doubt as to where
nineteen fifties to appear on television. hand in a downward direction to the left the object came from, because they could
I saw that show, and have seen several hand which catches it with the back of the see the "steal". When that happened there
videotapes of him. It has been mentioned left hand to the audience. The right hand would be a lot of people in the audience
may times that his simple action of pick- now passes downwards brushing the back who would turn to their partners and
ing up a suspended monocle with his left of the left hand as it passes. At that mo- say, "I wonder what he's just picked up
hand was used as cover for the steal of a ment, the left hand releases the ball and it in these handkerchiefs?" and when it
billiard ball. That may be true, but atten- is caught in the right hand on its down- appeared, they would say, "Oh! Look, it's
tion was being drawn to his facial reaction ward journey. The action is greatly helped a cat", and clap like mad. The performer
to the fan ofcards that hadjust appeared if, as you throw the ball from the right thought they were applauding a magical
in his right hand. That's misdirection. hand, the right hand jerks upwards a little production. Theywere clapping a cat.
Unfortunately, any discussion on the at the moment of the release. It makes What I have to suggest is only one
subject of misdirection has a big snag to the lowering of the right hand look more answer to the problem, but it does work.
it, and that is to define whether you are natural, and it is during that lowering that It is simply a rolled-up length of ribbon. It
talking about close-up, cabaret, or stage the ball is released from the left hand. could be ten feet long, it could be thirty. It
performances, because they can be, and It is a very effective vanish, which can just depends on where you are working.
in most instances are, different. This little be made more effective with the applica- The load is on your table or in a box
article is trying to touch on all three - or tion ofjust a little misdirection. Here's behind you as you make the silk produc-
at the very least, draw your attention to how. As soon as the Ieft hand releases the tion. You hold the handkerchiefs in your
the subject. ball, it pivots upwards from the elbow, left hand and, turning to your left, you
and at the same time the head and eyes make a throwing motion with your right
So with that in mind, may I drawyour turn to follow that left hand action. hand, and the audience see a long length
attention to what I think is a terrible habit You keep your eyes on the ball from ofribbon shoot out from your right hand.
that some close-up workers have got into? the moment you toss it into the left hand. You will find that all eyes will follow the
I am not trying to tell you what to do, but Because the ball is apparently still in the path of the ribbon shooting across the

3o6 MrsDrREcrroN
piatform, and it is at that exact moment the effect. I had to change the handling several times for the same person. You
that the left hand picks up the load. The a little. Al worked his magic behind a bar will discover that you can load the card
actual action ofthe steal is covered by and he knew that his conditions were under anything and more often that not
your body. always the same. My conditions were this writer loads it under a glass of liquid,
The left hand is holding the handker- different almost every time I worked. I or a cup and saucer. On the odd occasion
chiefs and the load. The right hand now devised a handling which I call 'automatic where I may decide to do this effect and
gathers up the ribbon into the left hand misdirection', and I guarantee you that if there isn't anything to load it under, I just
which is holding the handkerchiefs and you perform the exact same actions as I leave the card case lying on the table in
the load, during which action the per- am going to describe, the trick will work the appropriate position and use that. If I
former moves away from the point where for you too, every time. am performing a proper paid-for close-up
he made the steal. At the exact moment The effect is that a selected card is show, I usually load it under the cup I use
when the production is made the per- retumed to the deck, which is shuffied for a one-cup and ball routine.
former can be down-stage and well clear and ribbon spread, face up, on the table. Gordon Bruce of Scotland, and Mike
of any props or tables or assistance. The spectator is invited to find his card Close of the U.S.A., have each taken this
One more point. For manyyears, much in the spread. He fails, because the card effect and created routines based on it
more than I can remember, I have seen is no longer there. The performer now that are both miraculous and very enter-
performers produce silk handkerchiefs points to the ashtray on the table, and a taining. I nearlyforgot, the late TonyEng
and lay them over the back of a chair, and face-down card is seen under the ashtray, did a great job on it too.
a few moments later pick up those same which turns out to be the selection.
handkerchiefs and make a production Once the card is returned to the deck,
from them. The load was stolen from the you control it to the top and Palm it off
back ofthe chair in the action ofpicking the deck with the right hand. This hand,
up the handkerchiefs. It is a tried and with the card Palmed, is placed flat on
tested method and it always works, but the table, behind the ashtray, which is
I have never been sure that the audience a little to the right, actually placing the
were not aware of what was happening. card on the table but keeping it covered
There is an advantage to using the rib- by the right hand. The deck, which is held
bon as I have described it and that is that face up in the left hand, is ribbon spread
something magical is actually happening across the table, starting right next to the
at the exact moment the steal is made. ashtray and travelling away from it. As
The action is not designed just to distract soon as you start spreading the cards, the
the audience's attention. The production right hand moves forward and lifts the
of the ribbon is a sort of continuation of ashtray back and places it on top of the
the silk production and is an actual effect Palmed card.
that takes place as the steal is made It looks as if you have simply lifted the
ashtray out of the way and, because it is
such an inconsequential action, it is never
Cand Unden the Ashtnqy actually seen by the spectators; but there
is another reason why this is so. After the
This effect was shown and taught to me card has been returned to the deck I ex-
in 1966 by one Heba-Haba Al, a barman in plain, while shuffling the deck, that I am
the original NewYork Lounge in Chi- going to spread the cards across the table
cago. This was my first visit to the United face up, and I want the spectator to run
States and between Al, and another his forefinger along the deck and point to
barman, BobbyWonder, I learned more his card as quickly as possible. It is a test
about misdirection in that one evening ofboth eyesight and reactions.
than I had learned in the previous ten That's it. As soon as you start to spread
years or more. The one reallyworld- the cards you could put an elephant under
shattering lesson I learned that night was the ashtray and he wouldn't see it. One
that if your misdirection is strong enough, other advantage of using this method is
a spectator can be looking at both your that in reaching forward for the ashtray,
hands, which are only six inches apart, your right forearm covers the card. This
but ifhis concentration is focused on one helps if you are performing surrounded,
hand, he will never see what the other with people looking over your shoulder.
hand is doing. Remember, it is only a few Al had several different handlings, and
inches away, and in full view. I have seen him ribbon spread the deck
Al had more wrinkles on this effect with the right hand, which also had the
than on his face, and what I am going to card Palmed, and load it much later. He
describe is how I finished up performing also made a point of repeating the effect

MISDIRECTION 3O7
One of the dificulties inwritingthis chapter One problem is defining the central trick works. The assisting spectator is the
is that no one seems to have written much on thread which holds all of the effects in only one who is completely fooled.
this type of magic before. this chapter together. It is this single fact which creates the
For the record, the ideafor this was sug- Unlike most other effects they can- laughter. It is the perfect comedy situ-
gested to me by ChristopherWoodward, not be classified under any ofthe normal ation, and it is one which has not been
son-in-law of the late Maurice Fogel, which headings. The nearest you could come in over-exploited. Sit down and count up
will, of course, entitle him to afree copy of the a search for a classification ofthe effects how many effects there are which come
book, or at least a discount on one. described would be Comedy Magic, but under this category. Now compare your
even this would be unsatisfactory be- list with any other classification and you
cause more or less any magic trick which will see what I mean.
gets a laugh could be called that. There are dozens ofeffects where
things happen and the performer, appar-
Now Thqy See lt was chosen as the title ently, doesn't knowwhat's going on. This
ofthis chapter because that is the nearest situation, particularly in effects devised
I could get to an actual description of for audiences ofchildren, can cause more
what happens in all ofthe effects de- screaming and yelling than most of us
It ls alwa;rs easy to follow in someone scribed within these pages. Every effect is would allow under other circumstances.
else's footsteps and pass comment on concerned with a spectator assisting the Now They See lt-type effects are, as a
what has gone before, but ploughing a performer. In the course of the action, all general rule, not suitable for children
new furrow is fraught with unseen danger. of the audience can see exactly how the because as soon as something happens,

31O NO.W YOU SEE rT

the kids will yell out and ruin the situ- performers, but a few of them will be new wasn't a performer who showed it to me.
ation. There are however, a few items to most readers. All this writer can hope It was a guywho worked alongside me in
which, at the end ofan effect or routine for is that you will find something that a factory. When we worked night shift it
where the revelation is instantaneous, can you will use. If you already perform some was something to talk about. Where he
be used for children. An example of this of the effects then you may find a little saw it, only he knows. We will describe
is where something is discovered hanglng wrinkle or suggestion which you may in- what has become the standard method
on a child's back. The audience can see it corporate into your present routine, and and go on to detail it, as I first knew it.
but the child can't. This is quite different if that happens, this writer will be more
from the audience knowing exactlywhat than pleased, because it is rare to find Effect
is happening way ahead of the assisting anything that will improve an existing A spectator is invited on to the stage and
spectator. routlne. is seated on a chair. The performer stands
I like to think that the Now They alongside the chair in a slightly crouching
See rt effects are the adult equivalent I'm quite sure that it is unnecessary to position, and explains to the spectator
to all those effects designed to get the point out that it is not advisable to per- that he is going to pass a saucer, which is
kids yelling and where the performer is form more than one effect of this type in displayed, around the spectator's head,
apparently not quite in complete control any one act. Having pointed out this un- passing it from hand to hand, and that he,
of the situation until the denouement. In necessary fact, there is a nagging thought the spectator, must keep his eyes to the
our case the spectators get a kick out of that maybe you could do just that, by front at all times.
seeing one of their own put into a similar using the same spectator for two or three Holding the saucer in a vertical posi-
position. Maybe there is a little feeling of such items. As I write this I realise that tion, in his left hand, the performer pro-
superiority, perhaps even sadism, in the once upon a time I did just that. I wrote a ceeds to pass the saucer across in front of
knowledge that it is someone else and not Pitchman Routine for another performer the spectators face, and around his right
me, being fooled. inwhich several effects of this type suc- ear. The performer's right hand reaches
You get exactly the same reaction'v\rith ceeded one another and it worked okay. behind the spectator's head, takes the
a pickpocket act. In most instances the A couple or three ofthose effects are saucer, and brings it around the head to
audience can see what's happening, and included somewhere within these pages. the waiting left hand which takes it across
are both amazed and amused at what they It would be foolish to ask you, dear the spectators face as before. The saucer
see, and the fact that the assisting specta- reader, not to perform the effects is actually passed around the specta-
tors don't knowwhat's going on. If a pick- described herein on television, thereby tor's head several times in this manner,
pocket steals a wristwatch and later hands killing them for anyone else, at least for until eventually both hands are seen to
it back to the spectator everyone thinks a while. Yes, that would be foolish. If you be empty, and the saucer has apparently
it's great. But the effect on an audience is are to appear on television you would vanished into thin air.
much greater if, after stealing the watch, want to give it your best shot, and if any The performer shows both hands emp-
he holds it behind the spectator's back for ofthese effects are already in your "my ty and opens his jacket wide to show there
all to see except you-know-who. best" category nothing will deter you is nothing there. He now instructs the
I well remember Borra, the World's from including it on the small screen, but spectator to face the front, and he reaches
Greatest Pickpocket, standing with his remember one thing: This writer knows around the spectator's right ear with the
back to an audience, facing a spectator which effects in this book are not at left hand and reproduces the saucer.
onstage, balancing a wallet on the back the top ofyour list because you haven't As you are well aware, what makes it
of his neck, with his arms outstretched, seen them before. So beware, your little entertaining is that the audience can see
palms upwards, proving to the spectator brother is watching. exactlywhere the saucer goes. What hap-
that he didn't have anything. That was pens is that after he has passed the saucer
funny, that was comedy, that was magic. The Vanishing and around the spectators head a few times,
Another pickpocket, Vic Perry used to do Reappearing Saueen the right hand takes the saucer from the
a stunt where he repeatedly stole a spec- left hand, and places it on top ofhis, the
tator's pocket-handkerchief and placed it In all my life I think I have only seen this performer's, head. The right hand comes
on his shoulder for all to see except the effect performed three times. One was round to the front and you bring both
victim. Each time it got funnier. count someone or other, whose name I hands palms together and you open them
There is a similarity between this situ- have forgotten, and the other performers up, book fashion, right under his nose,
ation and one where you show a simple were Ken Brooke and Paul Daniels. All then turn them over to show the backs.
puzzleto someone and a third parqr, who three used exactly the same method and The saucer nestles on top ofthe head, and
happens to know the answer, starts laugh- Presentatlon. is completely out of sight from the assist-
ing. The humour of the situation arises What makes it interesting, to me at ing spectators viewpoint
from one person being unable to under- least, was that when I was first shown this The spectator is now instructed to
stand how another person cannot see the effect, just a little over fifty years ago, the face the front and the performer passes
answer to a problem that everyone else presentation was completely different and his Ieft hand across the spectator's face
clearly can. perhaps more logical. and reaches behind his right ear. As this
Most, but not all, of the effects in this Note that I said I was shown the ef- is done the right hand lifts the saucer off
chapter will be known to most well-read fect, I didn't see it performed, because it the head and passes it behind the specta-

NO\,t/ YOU SEE rT 311

tor's head to the Ieft hand which brings it the jacket from moving too much during reproduction ofthe saucer. The writer has
round to the front as if it had produced it the ensuing action. performed this effect probably hundreds
by magic. The right hand holds the saucer up, at of times in bars, restaurants, for visiting
In effect, the audience have seen how about the height ofyour head, and brings friends, at parties, etc. It works.
the saucer was vanished and reproduced, it down quickly and inside yourjacket and
but the assisting spectator didn't. You can carries on down until the right hand, still
now repeat the whole procedure, and ifit holding the saucer is sticking out from Gard on Fonehead
registers as well the second time, you can under the bottom edge ofyourjacket. You
do it a third time, with a difference. explain to your spectator that you want This is probably the effect that the writer
After the third vanish, you don't repro- him to grab the saucer out ofyour hand, has performed more than any other card
duce it as before. when he sees it appear at the bottom edge effect. It is a regular effect in the current
What happens is that you instruct the of the jacket. You repeat this several times act, and I would suggest that it fits into a
spectator to hold both hands together, very quickly so that the saucer is in view card routine rather than as a single effect,
palms up, in front of his body, a few at the jacket edge for just a fraction of a presented on its own.
inches above his lap. second. You now proceed to have a couple Although I knew ofthe effect, and had
In a stage whisper you tell him, "Keep of practices so he gets the hang of it, and performed it occasionally, since the early
looking at your hands". try to beat him so he doesn't get hold of days, as a close-up, impromptu effect,
All you have to do now is give your it. The reason for the practice session is it wasn't until 1966 that I realised how
head a nod and the saucer will slide for- that it conditions him to look downwards strong it could be. r966-that was the
ward offyour head and drop into his wait- at the bottom ofyour jacket in anticipa- year I met Al Andrucci, better known to
ing palms. You will have to experiment a tion ofgrabbing the saucer. You now magicians as Heba-Haba Al. It was my
few times to judge the drop into his hands instruct him to place both his hands on first visit to Chicago, and Jay Marshall
because you want it to land flat on his his thighs and when he sees the saucer at took me to the original New York Lounge
palms. For most of the performance you the bottom ofyourjacket he has to grab where Al was performing behind the
will be standing alongside the spectators it before you pull it back. You now start bar, alongside owner Jack Murray and a
chair in a slightly crouching position, with the game and you push the saucer down youngster called BobbyWonder. I had
knees bent. For the drop you will probably a few times. If you do it quickly he will be been around the magic scene for quite
have to straighten up a little to allow the unable to reach it in time and the visual a long time, but watching Al was, for a
saucer to turn over in mid-air and land picture to an audience is quite funny. magician, like going to college. He was, of
right-way up in his hands. Because ofthe situation your assistant's course performing close-up, and the card
The reason for using a saucer is two- eyes will be glued to the bottom edge of on forehead was one of his most regular
fold. Firstly it will nestle on top of your your jacket in expectation of grabbing the effects. I have seen dozens ofmagicians
head and tend not to slip offaccidentally; saucer and has no chance of seeing you perform the effect, but always as a close-
and, secondly, from the assisting specta- place the saucer on your head. When the up item. I was told that the late Johnny
tor's viewpoint, it can't be seen if and time is ripe, you simply leave the saucer Platt did it in a stand-up act but I never
when he looks upwards at your face, be- on top ofyour head, and when you bring sawhim do it. I developed it as a stand-up
cause anlthing on top ofyour head can't your hand down, minus the saucer, grab item all by myself. In recent years I have
be seen from that angle. his hand as he reaches out, and shake it seen many performers do it as a stand-up
It is possible to find the odd ashtray vigorously. He will look up at you in sur- item and often wonder how they came to
which will do, and the writer has used prise, at which point you release his hand do it. Watching someone else do it prob-
them on many occasions, but a saucer and openyour jacket with both hands as if ably. Isn't that how most magicians get
remains the perfect object for this effect. to say, "I haven't got it". their routines?
You now instruct him to face the front The effect is that when a spectator is
and assist him to do so with both hands, looking through the deck to find his card,
The Eanl5r Vension placing one at the back ofhis head and the audience can see the card on the per-
one under his chin. You are now in a posi- former's forehead. The assisting specta-
I still think I like this version best, be- tion to reproduce the saucer in exactly tor's surprise when he finally discovers it
cause there is a little of the competitive the same fashion as detailed in the first is usually an automatic applause cue for
spirit involved and the misdirection for version. As before, you can add the drop most audiences.
the vanish is built into the effect. The into his palms after a few tries. (The photo above shows Pat perform-
situation is the same as before. The spec- Anyone who has performed a NOW ing the trick for R. Paul Wilson on stage at
tator is sitting and you are standing, but THEY SEE IT effect regularly, will know his suryrise 8oth birthday party.)
this time you are on his right side. You that a Iarge percentage ofthe entertain- That is a straightfonuard description
are holding the saucer in your right hand. ment value stems from the assisting ofwhat happens, but there are a couple
You turn your left side slightly towards spectator's reactions. In the versionwe ofthings which can enhance the enter-
the audience, and hold the left front edge have just described you will get more re- tainment value of such a sma1l item for
ofyourjacket, at the bottom ofyour lapel, action than in the flrst version because of large audiences. I have been performing
with your left hand, fingers on the inside, the different presentation methods used this effect for a long time and the actual
thumb on the outside. This is to prevent for the two effects - the vanish and the sequence ofevents seems to have evolved

372 NOWYOU SEE rT

 Pat on stage at his Soth birthday pafiry with R. Paul Wilson.

by itself. Remember, for me this comes you to make a couple of statements which cealed. You now look at your assistant
in the middle of a card routine with the he will not agree with. If his card is a red and ask, "You do remember the card,
same assisting spectator throughout. spot card, you say, "Your card is a black don't you?", to which he will reply, "Yes".
By the time I get to this effect I am just card". Although this is a statement, if you With the right hand you now take the
a little frustrated as I say, "Here, take a raise your tone a little on the last word it deck, grasping it at the outer end with the
card. You've got one? Good. Look at it, can sound like a question. Raising your thumb above and fingers below, Ieaving
remember it, and put it back in the pack". eyebrows and nodding your head slightly, the Palmed card behind. The left hand im-
Now cut the deck and have him replace also helps. mediately drops to your side, still holding
the card on the lower half and drop the He will reply "No". Look surprised and the Palmed card. The right hand offers the
remainder on top. It is important that he say, "It was a picture card", in the same deck to the spectator, and you ask him to
doesn't show the card to the audience, manner, and again he will reply, "No". run through the deck quickly, remove the
which is the reason for the rather terse Now look at the audience and ask,'\Mas same card and hold it up so everyone can
instructions directed at him. Don't give it a picture card?" To which you will get see it. "I won't look", you say, as you turn
him time to think, because you want him several people telling you that they didn't your back on him.
to take that card and get it back in the see it. Once you have turned your back on
deck as soon as possible. During the preceding banter, the card is him, raise the left hand up, lick the back
The card must be controlled to the held in the left palm which is also holding of the Palmed card and stick it to your
bottom ofthe deck, peeked at, and then the deck across the palm, thumb on top forehead. Ifyou perspire a lot, you can
Bottom Palmed in the left hand. The and fingers curled around the opposite dispense with the lick. What happens now
reason for peeking at the card is to enable long edge, keeping the card well con- is the real secret of getting big laughs out

NOV/YOU SEE rT 3r3

ofthis situation. Because you have turned Spades". When he does look at you, the The assistant is asked to point to
away from the spectator, you cannot see audience will react as we have already de- someone in the audience and that person
what he is doing. Don't be tempted to scribed. Sometimes he will look up before names the selected card. The assistant, of
turn back to look at him quickly. Most you have finished the sentence. It doesn't course, is unaware ofthe card on the bot-
times he will pause for a few seconds matter, the final result will be the same. tom ofthe tray.
before he starts looking. Sometimes he The reason for using the "Look me in the In the original routine, an egg whisk
will look across at where his friends are eye" line is ifthe laughter is flagging this (egg beater) was used to send thought
sitting. If you turn round too quicklyhe allows you to bring the effect to a close. rays from the assistant to the person in
will see the card on your forehead. You'll Handled properlyyou should get more the audience, and also to create a consid-
get a laugh as he sees it, but you can do laughs with this effect than any three erable amount of hilarity. It's a surpris-
better than that. others. The writer has had a spectator ing fact that most performers who have
If there is a microphone, step towards back off all the way round a cabaret floor used this routine also used the egg whisk
it as ifyou are stepping away from your in an attempt to prevent him seeing the idea. It never seemed to occur to them
assistant and say, "Give him a moment, card, to a continuous stream of laughter. that there were other things that could
he'll find it. It sometimes it takes a while". Occasionally you get a bonus laugh, one be used. It seemed to become mandatory
You will get a laugh the moment you place you don't expect, and if you realise what that ifyou did this routine, you included
the card on your forehead, but you will caused it you can plan for it. This hap- the egg whisk gag. Odd.
get another one when you ask them to pened to the writer one night when the One thing is certain about this routine.
give him time. The reason for this is that spectator looked up at me and said, "Hold The plot is sure-fire comedy. It would be
most of the audience will not see the card on a minute, I'll find it", then continued a poor performer indeed who couldn't
until you address them. looking through the deck for the card. He register with this effect. Many different
Your assistant will think you are being actually didn't see the card, and I knew performers have devised many different
kind to him but the audience, who can see instantlywhy. I was standing alongside methods for informing the audience of
the card, will put a completely different him when it happened, and he had to the name of the selected card. Here are a
interpretation on your words. Now turn turn his head to look at me as he raised it few of the methods:
to the assistant and stand alongside him. upwards. It onlytook a second, and the
Bring up both your hands and pointing to reason he couldn't see the card was that Ask the assistant to turn away to look at
the cards he is holding, tell him in a stage his heavy horn-rimmed spectacles got in the card he has selected, "So that no one
whisper, '\Mhen you find it, hold it up so the way of his vision. He probably didn't else can see it", and as he does so, pull a
everyone can see it". As this is said, hold really look at me, but it looked as if he jumbo replica from inside your jacket and
your hand up as ifyou are displaying a had. So now, I always look for someone flash it to the audience.
card to the audience. This is done to reas- with horn-rimmed glasses, and believe Either you or some other person hooks
sure him that everything is okay and that me, it has actually happened several times a jumbo replica on the assistant's back.

you will wait till he finds it. Keep your since that day. They turn their head casu- Instruct him as in the previous version,
eyes on him as he looks through the deck. ally towards you for a moment without and as he turns away the audience will see
Now lean forward and, again in a whis- making eye contact. This is called manna the card on his back.
per, say, "You probably missed it the first from Heaven. Remember this: A person Hook the jumbo replica on your own
time. Go through the cards one at a time wearing thick horn-rimmed glasses has back and as you are instructing the as-
from the top". Nine times out of ten he restricted vision, and sometimes it can be sistant's actions, turn your back so the
will start to count the cards one at a time made to work in your favour. audience can spot it. After the effect is
offthe top the deck. By this time your concluded, send the assistant back to his
audience should be laughing. The visual seat and when he has settled, publicly
situation is that you should continually Gla5rton Rawson thank him for his help. This way, he will
be talking to him and turning your back be looking at you. Tell him not to tell
on him, reinforcing the fact to him that Everyone who everwanted a comedy anyone how the trick works, as it's a big
you don't want to see the card, and all the routine in his act must have tried this secret. Now turn your back to pick up
time the card is staring him in the face one by Clayon Rawson. He published it something and expose the card to him.
and he can't see it. inHugard's Magic Monthly, and I'm sure Have a banner rolled up at the front
There are two ways the effect can be he didn't knowwhat he was starting. In edge ofyour table. After the card has been
concluded. First, he will look up and see the original effect, the audience assistant forced, replace the deck on your table
the card, at which moment you should was invited to select a card from a deck and as you do so, tip the banner forward
get both a yell and a round of applause which was spread on a tray. It is a one-way so that it rolls offthe table and hangs
from the audience. The other way is to forcing deck. Once the card is selected, down at the front. Make sure that you
show apparent concern that he can't find the deck is removed from the tray and are standing between the table and your
his card and, as he is still looking through the performer, still holding the tray in assistant, or have the table down-stage of
the deck, ask him what the name of his one hand, drops that hand to his side, your assistant.
card is. When he tells you, "The TWo of exposing to the audience a large replica Jim Sommers of Milwaukee used to put
Spades", say to him," Look me straight in ofthe forced card, stuck to the bottom of a fancy hat on the assistant's head and in
the eye and tell me you took the Two of the tray. the course ofthe routine the front ofthe

3r4 NOl]t/YOU SEE IT

hat was unfolded so that the audience in the audience to call out the name of a
could see a large duplicate of the card card, okay? Once they've done that we're Whieh Hand is it In?
that was forced. At the conclusion ofthe going to have a count up and see how
effect, he removed that hat from the assis- many of them called out the name of your Adults the world over have taken an
tant's head and as he did so, he refolded card. Are you ready? One, two, three", and object such as a sweet or piece of candy,
the front ofthe hat so the assistant was ofcourse, after three, the whole audience or a coin and placed it behind their back.
none the wiser. The details of this hat can will call out, "Ace of Spades". A moment later they have brought both
be found in the Sommers lecture notes. After this has happened, the audience hands to the front and stated that ifthe
The Supreme Magic Company of will usually laugh and after they have child can guess which hand it is in they
England used to sell a large X-RayVision settled down, turn to the assistant, ask can have it. Older children, at least in
card which has a design appropriate to him which card he chose, and when he Scotland, have also used it as a means of
the effect on one side and averylarge tells you the "Ace of Spades", turn to the selecting sides, for team games. Suffice to
playng card printed on the other side. audience and say, "Hands up all those say that the idea is more or less universal
This method of revealing the informa- who called out the Ace of Spades". and, because ofthis, it lends itselfto a
tion to the spectator in the audience is This last part sounds a little naive, but NowThey Seef t)?e effect.
unique to this prop, I think. It should be do it. It's worth it. You display a small silk handkerchief
capable of variation, with a design allied and ask the spectator if, when he was a
to a company logo, for instance. We are This version of the Clayton Rawson effect schoolboy, he used to play the game of
talking about the company you happen to uses the deck itself and no other props, placing something behind your back and
be working for that day. which makes it almost unique for this someone has to guess which hand it is in?
Manyyears ago I came up with a pre- effect. The deck is a one-way forcing deck He did? Good. Because that's what you're
sentation for this effect. I was annoyed to with an indifferent card on the face. going to playwith him, with the hand-
discover that someone else had come up Fan the deck and have your assistant kerchief. You stand with your back to the
with the same idea, maybe even before I select a card. Have him look at the card, wings and face-to-face with the assistant.
did, but who cares. The plot is the impor- remember it, and replace it anyvuhere in You place the handkerchiefbehind your
tant thing because it can live a lot longer the deck he chooses. You now give the back and bring both hands forward in
than the person who created it, and I deck a genuine shuffle, retaining the indif- closed fists. Ask him which hand he thinks
really did come up with the idea all on my ferent card on the face. it is in and when he points to one, turn
own. The someone else who had the same You explain that you are going to show it palm up and open it - it's empty. Now
idea was Lou Derman, a funny man no the cards one at a time to the audience, repeat the action with the other hand to
longer with us, and his version appeared but not to him, andyouwant him to call show that this hand is also empty.
in his book, Comedy Card Magic. The out "Stop", any time he likes. Ask him not What has happened is that the mo-
idea was to get all the audience to call to call out "Stop" too quickly, but to take ment you place the handkerchiefbehind
out the name of the card instead ofjust his time. your back, all the audience has seen it fly
one spectator. I think I had the edge over You now proceed to show the cards to offstage into the wings. Your assistant,
Lou in the presentation devised to get the the audience one at a time and drop them because he is facing you cannot see this
audience to call out the name of the card. face down on your table. When he calls happen.
We will assume that the card to be out "Stop", you ask him to name his card You need someone in the wings with a
forced is the Ace of Spades. As the card and when he does so you show him the Kennedy Reel. This is a reel manufactured
is being forced, you instruct the assistant card you are holding and get him a round by John Kennedy in the United States. It
not to look at the card, but to hold it be- ofapplause. is battery operated and has a particularly
tween both palms so that no one can see Another presentation for the previ- long thread. It will pull the handkerchief
it. Now instruct him to "step over there" ous version is to have a spectator in the in a straight line through the air without
with his back to the audience and peek at audience call out a number and you count the handkerchief dropping to the floor
the card, making sure that he and he alone down to that number, showing the faces and being dragged along. Most magic
sees the card. of the cards as you do so. When you reach shops stock these reels, or can get one for
As he is doing this a large banner is the number, turn to your assistant and you.
lowered from the flies with the words Ace ask him, first," What was the name of
of Spades emblazoned thereon. When the your card?" and after he has named it,
assistant has peeked at the card, call him 'Itr/ouldn't it be a miracle if this was your Ditto
back to stand beside you. You now say to card?" When he agrees, turn the card over
him, "If we were to ask everyone in the and show it to him. Exactly the same effect can be obtained
audience to call out the name of a card, For small audiences a normal size deck on a cabaret floor where there are no
theywould probably call out lots of differ- is suitable, but for larger audiences use wings. This time you have a normal reel,
ent cards, right? But ... It is possible that a jumbo-size deck. As we have already with as long a thread as possible, at-
at least some of them would call out the pointed out, all you need is the deck, and tached to the inside of a top hat sitting on
name of your card, right? that fact alone should give it the edge your table. The hat has to be fixed to the
"\Mell let's find out. I'm going to count over most versions, at least for the small, table. A small box will do just as well. The
to three, and after three, I want everyone self-contained act. handkerchief is attached to the reel. The

NOW YOU SEE rr 315

spectator is on your left, the table is on which is holding the wand, at his back. In or animal. Unknown to the audience, its
your right. this position, you simply hook the wand head was removable. A cloth with a hole
Reach into the hat with your right hand on his back and pull the shell downwards at its centre was draped over the flgure,
and bring out the handkerchief, show it, and offthe wand. cloak fashion, so that only the head was
and proceed as before, but this time the After the shell/wand, has been vanished visible. At this point the bodywas secretly
audience will see the handkerchief fly into by wrapping it in paper and eventually palmed away under cover of reaching for
the hat or box. Don't stand too close to crushing it into a small ball, you have a magic wand. The head remained in view.
the table. You should be four or five feet to reproduce the wand. To find it, you The cloth used as the cloak was a double
awayfrom it. suggest that you and your helper have a cloth and the head was allowed to drop
search. Take him by the hand and start inside the cloth, which was then shown
walking him around the platform in a on both sides proving that the "figure"
On the Back circle, at which point the audience will had vanished. A duplicate figure was
see the wand, but your assistant can't. found on the assistants back.
In the past there have been countless ef- Any experienced children's entertainer The later Wandering Willie version
fects and gag items, where something was can take it from here. became very popular with children's
secretly hung on the assisting spectator's Aword of caution. A sharp hook can entertainers in England because the figure
back. One of the most common, it ap- penetrate flimsy clothing, such as a T- itself was larger than in the first version,
pears, was a banner with a funny message shirt, and cause pain. Make sure your as- but in the act of disposing of it the body
on it, but there are others. One that the sistant is wearing something a little more collapsed to almost half its original size,
writer used extensively in performing for substantial. making it easier to handle, and more ef-
children was the Vanishing Wand which fective visually. A duplicate was supplied
was eventually found on the assisting as in the original. (The illustration at left
child's back. Bonus Genus shows the Thayer version.)
The method for this was to have a solid
wand with a small sharp hook at one end. Bonus Genus was the rather odd name
This wand was covered by a matching given in Victorian times to another effect Anothen Vension
paper shell, complete with white ends. In where the vanished object wound up on
performance, you tell your assistant to the assistants back. A later version was A silk handkerchiefwith a hook attached
stand up straight and face the front, and marketed in England under the name to one corner can be loaded into a hollow
to emphasise this fact, you placed one of WanderingWillie. This was a small magic wand. It is a simple matter to hook
hand flat on his chest, and the other hand, figure which could depict either a human the handkerchief onto a spectator's back

3t6 Now You sEE rr

to be discovered later after a duplicate has A card is selected and returned to the have tried to get a laugh in the act.
been vanished. deck, controlled, and palmed offthe deck. A spectator is seated centre stage, a box
You stand alongside the spectator and oftissues is placed in his lap, and he is
offer him the deck to be shuf,fled. As you instructed to hold it there. The performer
Ulltlr a Balloon do this you slip the palmed card under the now takes one ofthe tissues and, rolling
collar ofhisjacket at the back. Take the it into a ball, proceeds to vanish it right
Balloon modelling lends itself to a deck from him and spread the cards face under the spectators nose. The effect is
similar'on the back'gag. This is one that up berween your hands and ask him ifhe repeated several times. The enteftain-
just happened during a kid show and it can see his card. When he answers, "No", ment comes from the fact that the whole
worked so well it stayed in the act. Having tell him it's because his card is hanging on audience can see the paper balls fly over
said that, you won't believe the next bit. the curtain behind him. Tell him to turn the spectator's head and land on the floor
It is now used as a regular bit in the adult round and have a look and when he does behind him, but he can't.
act with a man as the foil. so, the audience will see the card under That's the effect, and despite extensive
The whole setup and action is almost his collar. enquiries this writer has been unable to
exactly the same as in the vanishing wand So far so good. This has been used establish exactly who was first with either
on the kid's back. by other magicians. What follows is the vanish of an object over a spectators
You have the modelling balloon in your what shifted Giovanni's version up into head, or the repeat vanish ofpaper balls
right hand. The man is on your right. another gear. Remember, the spectator ditto. There is no question that it was
Secretly rub the balloon against your body still doesn't knowwhere the card is. With Tony Slydini who popularised the paper
to create the static electricity required, both ofthem facing front again, Giovanni balls over the head. The whole Slydini
and as you move him back a little, you asked him if he would like to know where routine is described and fi.rlly illustrated
leave the balloon on his back. Now face the card was and when he answered, hThe Best Of Slydini, And More by Karl
the front and continue talking about the "Yes", as he usuallywould, this is what Fulves. Horace Goldin used to vanish a
balloon animal you are going to make, and happened. silk handkerchief over a spectators head,
using your hands to describe its details. They were both facing the audience, and interestingly, had an assistant catch it
Suddenlyyou realise that you don't have side by side. Giovanni instructed the spec- behind the spectator and exit immediately
a balloon anymore. Look at your assis- tator "to do exactly as I do". He held his and there are reports ofhis performances
tant and look at your hands again. Ask right hand out at arm's length, palm up- right at the beginning of the twentieth
him where the balloon is, and eventually wards, in front ofhis body. The assistant century. George Johnstone from Chicago
take his hand and walk him round as you did likewise." Now do this", he said, as he told me that Harry Blackstone senior was
would a child. brought his hand up and over his head to doing a similar thing around the same
There is another way of exposing the the back ofhis collar. The spectator did period. In recent years David Copperfield
fact that there is a balloon on his back. the same and as soon as his hand reached used an assistant to do the catching of, I
If you are working in front of a band, or the back ofhis collar he could feel the think, an egg, several trmes.
even a pianist, tell your assistant to ask card, and it was the expression on his face To perform the effect, stand on your
the band if they have another balloon. He that sold the effect to the audience. assistant's Ieft.
will turn round to do just that. Don't try There is a possibility that the assistant Remove one tissue from the box and
and cue him secretly,just ask him straight won't find the card if he doesn't reach far either crush it, or roll it into a ball. Hold
out to ask the band for another balloon. enough. It doesn't matter. Just repeat the your left hand palm upwards just in front
On the odd occasion, the amusement will actions telling him to really stretch out. of, and slightly below his chin. Hold the
Iast a little longer than you would expect. There is a situation here that is almost ball between the first two fingers and
Ifthis happens, and he doesn't realise unique in magic. It is similar to that in thumb of the right hand. Bring the right
where the balloon is, make a display of which a comedian telegraphs the punch hand down from above his eye level and
showing the hand empty, reach behind line to a joke, and the audience are wait- place the ball on the palm ofthe left hand,
him and produce the balloon. ing for him to deliver it so they can laugh. but still retain your grip with the right
Here, they know where the card is and hand. In this position, with the back of
they are waiting for him to find it so they your hand towards his face, he should be
Dn Giovanni's can applaud. able to see the ball over the top ofyour
Card on Back Don't use an elderly person for this hand. Lift the ball up above his eye level
effect. They may not be agile enough to and bring it down again on to the left
In his time, Giovanni was the world's reach that far. You have been warned. palm. This is repeated a few times during
number one pickpocket. He used to get which he is instructed to keep his eye on
a committee on stage and used magic the ball.
tricks as his misdirection for stealing their Papen Balls At one point, when you raise your right
watches, wallets etc. The card on specta- Oven the Head hand you release the ball with a slight
tor's back was one he used, and it is a les- flick so that it flies over the top ofhis
son in how to get the maximum effect and This effect is probably second only in head. As soon as the ball is released the
entertainment value from a very simple popularity to the Clayton Rawson effect right hand comes down without pausing,
concept. detailed earlier among magicians who as if it still held the ball and as the right

NOWYOU SEE rT 377

fingers and thumb touch the Ieft hand the would normally associate with the Norar on a chair and he is given a glass of milk
Ieft hand closes as if it held the ball. Turn They See ft school, but there is one short and asked to hold it steady on top ofhis
the right hand over to show it is empty, gag which you can do ifyou are the type head, which he does. He is now asked
then very slowly open the left hand to of performer who can milk this situation. whether he can remember if the glass
show the ball has '1ranished". That is the At one point in the routine, your as- was half full or half empry? Whatever his
basic presentation and method for this sistant is facing the audience, and you are answer, he is asked to look and check to
effect, and it should be repeated several standing on his left, facing him, with your make sure, and when he does so, he finds
times. With each repetition the entertain- left side to the audience. You have placed the glass is empty.
ment value is increased, but there are a the egg into the bag. You now reach into The method is both simple and amus-
few little wrinkles that will help. the bag and turn the bag inside out to ing. While he is holding the glass on top of
A-fter you have '(uanished" the second show that the egg is no longer there. In his head, someone sneaks on behind him
ball, and as the audience are laughing, this position you have your assistant look and drinks the milk with a straw, and exits
whisper to your assistant, "Look up my into the bag which is now inside out. At again. There are a few points which must
sleeves", The audience are unaware of this stage the audience can see the egg be remembered if you decide to perform
your instructions to him and will find the clinging to the side of the bag which is this effect.
situation visually funny, of this guy look- nearest to them. You must talk non-stop to the child to
ing up your sleeves for something that Because the assistant is so close to you, hold his attention, and you must, while
everyone can see lying on the floor behind he can see inside the bag, and he can see talking to him, stand in a position onstage
him. After the next ball tell him to "Look that you are not trying to palm anything, which is the opposite to that from which
in myjacket", and the audience reaction and you are holding the bag open for him, your secret assistant enters. If the child is
will be repeated. but he can't see over the top ofthe bag. looking slightly to his right, he will never
Still another method of raising a laugh You now get the assistant to hold the bag see anyone entering from the left and
is to hold a ball in your right hand and, as by placing his fingertips inside the bag as behind him.
you are about to proceed, suddenly point you are doing. You show your right hand Ifyour secret assistant empties the
with your left hand to his right and say, empty and reaching into the bag, you grab glass completely, the child will both hear
"Look at him laughing his head off", and the bottom ofthe bag and pull it upwards, and sense that sound which is peculiar to
as he turns his head to look where you bringing the bag back to its original condi- sucking liquid through a straw at the bot-
are pointing you toss the ball over his tion, and as you continue upwards you tom of a glass.
left shoulder. As he turns back you are pull the bag from his grasp. Make sure that there is some liquid
rubbing your rwo hands together as if the Turn the bag right way up and have left in the glass. Ifyou place a strip of co-
ball was between them. Close both hands the spectator insert his fingers into the loured sticky tape, one inch wide, around
as you separate them with their backs up. top ofthe bag as before to hold it open. the bottom ofthe glass, the glass will ap-
Ask him to pick which hand the ball is Show the right hand empty, reach in and pear to be empry although it still contains
in and when he does so, you turn it over produce the egg. a small amount of milk.
and open it. Now do the same with the There are many methods to make the
other hand slowly. The result is the same egg stick to the inside ofthe bag but the
as always, but the laugh you will get when one the writer has used was Velcro, a Variation I
you toss the ball over his shoulder is a small white piece stuck to the egg and
guaranteed bonus. a slightly larger black piece stuck to the The set up for this is exactly the same as
It has become accepted practice that inside of the bag. Unless you reallywant before, but the secret assistant enters a
you bunch several tissues together to to be clever, an ordinary black bag will little earlier, while the performer is filling
make a large ball for the finale, which do. There is no need to use a genuine egg the glass with milk in front of the child.
tends to increase audience reaction, but is bag. You will find it easier to handle if The child is instructed to sit up straight,
no more difficult to perform. the point at which you fix the egg is low and as you raise the glass in an upwards
There is a division of opinion as to down, but not actually at the bottom of direction in front ofhis face and up on
whether you should, after the effect, turn the bag. top ofhis head, your assistant takes the
the spectator around to showhim where fulI glass from you, substitutes an empty
the balls are, or wait until he has returned one, and exits.
to his seat, from which point he will see The Vanishing Liquid
where they are.
There is no definitive answer, but the I am not quite sure why, but this item Vaniation 2
simple answer is to try them both, and if seems to be best appreciated if your un-
one ofthem gets a bigger laugh, that's the paid assistant is a child. If you work single-handed you have two
one you use. The nature ofthe effect lends itselfto an rings attached to the back ofthe chair.
appreciation of the innocence of child- One ring contains the empty glass. In
hood. The sight of a small child looking this instance the first glass is filled with
The Egg Bag bewildered is irresistible to an adult milk while the child is standing. The child
audience. is now led to the chair and in the action of
The Egg Bag is not an effect that one The effect is that a small child is seated assisting him to sit down it is not too dif-

318 Now You sEE rr

ficult to place the full glass into one ring turn round. An alternative handling is to This is the Big Time
and lift the empty glass on to his head have the boy standing facing the audience.
from the other ring. Ifyouwrap cloth He is instructed to stand up straight, In the course of researching the material
around the rings, this vrill prevent the hands by his side and look to the front. for this chapter, it occurred to the writer
glasses from "talking". You place the ruler alongside him so that that there were no large-scale illusions
the audience can see the numbering as it that came into the Nor.u The17 See lt cat-
was before, but as you tell him to "look egory. Are there? There are a few where
The Pitehman Routine straight ahead", you turn the ruler round. the method is apparently exposed to the
Now place your hand against the mark on audience by way of a behind-the-scenes or
The following ideas were devised for a the ruler at the top of his head, and bring backstage-with-a-magician type presenta-
pitchman routine which was presented in the ruler around to the front so that he tion, but nothing where the audience are
the open air at a theme park. The act was can see how tall he has grown. You can in on it but the assisting spectator isn't.
performed by a comedian who was hired say, "Look, you're three foot six". At this So I went ahead and invented one.
by the theme park. Your scribe devised moment he is looking at one side of the I have never performed it and prob-
the whole act and supplied the props. ruler and the audience are looking at the ably never will, but maybe it will inspire
There is no real point in relating all other side and can see that he is still only someone somewhere to try something
the verbal jokes that were used, most of three feet tall. different. I know it works because it is
which were old and culled from other You can use an older child, who could so simple, both in effect and method. In
pitchman routines published elsewhere. realise what has happened, and may say imagining how this would be presented
There were other prop gags involved in so. In this instance, just pretend not to I thought that maybe the presence of a
the routine, but the ones that follow are hear, and make a remark about nine year- small boywould lend itself to a tongue
the only ones which contain aNow Thay old college kids. Place the ruler aside and in cheek presentation. After assisting Mr.
See If element proceed to: Magic with whatever effect preceded this
The basic plot of the routine was one, the boy is asked if he would like to
simple. The pitchman has a bottle of elixir be a magician and, when he agrees, he is
to sell, and to prove its worth he invites The Eye Chart invited to present a magic trick for the
a boy onstage to assist him. He improves audience who are going to give him the
the boy's eyesight and makes him grow The boy is seated on a chair. Six to eight biggest round ofapplause any magician
six inches taller. feet in front of him is a large white board. has ever had, anywhere. In short, the au-
In the explanations that follow the You point to the centre ofthe board and dience has to be set up to make him think
pitchman's patter and administration of ask the boy to read out the letters of the he is really going to do something special
the elixir have been deliberately left out. alphabet that are written on the board. and they are going to let him know just
In fact, the letters are so tiny that it is how much they liked it.
Six Inches Mone almost impossible to tell that there are
any letters on the board, so the boy fails Etect
To make him appear to grow taller to name any of the letters. There is a freestanding doorframe, on
requires a simple prop. It is a length of Pointing out that his eyes obviously a wheeled base, with two doors which
wood, six feet long, three or four inches need attention, an eye-bath is adminis- meet at the centre. It is spun around by
wide, and perhaps half an inch thick. It is tered to both eyes, after which the boy the boy assistant so the audience can see
painted to resemble a six-foot ruler. The can read the chart easily. The eye-baths, all around it. The wonder boy now opens
number one is at the bottom with the incidentally are empty. both doors and walks through the frame.
number six at the top. The reverse is al- What actually happens is that while He turns round and closes the doors. He
most, but not quite the same. The number the eye-baths are being administered, the now turns the frame so both doors are
one, which represents one foot, starts off large white board turns over to reveal a facing the audience. He claps his hands
six inches lower. very Iarge eye chart on the other side. twice and the doors open and a beautiful
When the boy is measured the first There are many different ways the board showgirl steps through, and the audience
time, the height you call out will be his can be made to turn over, but the simplest goes wild.
genuine height. When he is measured is usually the best. There are two handles, one at either
later, using the other side ofthe ruler, he The one the writer had made was side of the doorframe. There is another
will appear to be six inches taller. A five similar to an old-fashioned swivel mirror. pair ofhandles on the other side in exact-
or six year old is ideal for this, as they The upper half was slightly larger than ly the same positions. The frame is built
don't really understand measurements the lower half, and was positioned to lean so that the doors will only open one way.
at that age. In performance, as you are forward a fraction. A pin through a hole Either magnets or ball catches, top and
about to measure the height the second in the lower part of one of the uprights bottom, hold the doors in a closed posi-
time, stand the child facing to one side held it in position. When the pin was tion. There must be no gap between them.
and place the ruler against his back and pulled out, the upper halfofthe board fell A brightly coloured dress or a sequinned
as you do so, you very obviously turn it forward, which turned the board over. A one will show up like a beacon even
round. Now place your hand against the small stop at the bottom prevented the through a very narrow slit. A one-inch
ruler at his head height and ask him to upper halffrom going too far. strip of wood attached all the way down

NOWYOU SEE rT 379

one edge of one door would effectively the adults, because they are standing (square) knot. You hold the knot in your
overlap the edge ofthe other door. above the action and looking down, you right hand and with the left hand you
There is little more to say about the have actually left the coin on the top of toss one ofthe handkerchiefs over the
actual prop. The dimensions you will have your head. You now tell the child that you knot, and ask the spectator to take hold
to work out for yourself. Decor? Suit your- are going to open and close the fingers ofthe knot through the thickness ofthe
self. However it is built, make sure it is a ofyour left hand and ifhe/she can grab handkerchief covering it. Despite the fact
solid prop, with no wobbly bits. the coin they can keep it. The child will that he is holding the knot quite tightly,
The doorframe stands side-on to the naturally grab for the coin and be suitably the knot becomes untied.
audience. It is in this position after having amazed to discover that it has vanished. Most magicians will recognise this as
been brought on and spun round once. To reproduce the coin, you resort to the an effect also associated with the late
The boy is now taken to a spot in front of method already described in the Vanish- Tony Slydini and can be found in the Sly-
and stage right ofthe prop. The performer ing Saucer. The child is instmcted to hold diniBook of Magic. To bring the effect into
instructs him to step onto the base, push both hands together, palm upwards, You the Now They See ft category requires a
open the doors, and walk through them, explain that ifthey close their hands, simple change in the presentation.
stopping on the other side. He in now count to three, then open them again, the The spectator is standing on your
instructed to turn and close the doors. coin will appear there. left. He has tied the t'wo handkerchiefs
Once the doors are closed, and the boy Just one slight nod ofthe head is all together in a knot. We will assume for
is still standing on the base, the performer that is needed to drop the coin offyour instructional pu{poses that one handker-
stands on the stage itself at the edge of head into the waiting hands. You will find chief is red and the other is white. Under
the doorway, stage left, as a girl assistant that sometimes the child will not realise the guise of tightening the knot you pull
walks straight out from the stage-right where the coin has come from, and you and tug at it, during which action, the
wings and steps onto the base, on the can make this happen if you instruct the knot is upset by pulling on the body of
other side ofthe doors from the boy, and child to keep looking at their hands at the red handkerchiefin one hand and the
takes hold ofthe two handles to steady all times. With practice, you can tip the knotted corner ofthe same handkerchief
herself. The reason for the performer tak- coin offthe top of your head as the child in the other hand. This will cause the
ing up that particular position is to enable counts "three", so that it lands in the red handkerchiefto straighten out, with
him to see the boy, and talk to him and hands as they are opened, rather than a the other handkerchief, in effect, simply
hold his attention at the very moment the fraction ofa second afterwards. wrapped around it. This is the standard
girl is walking out from the wings and tak- One last point. Practice this a few procedure for this effect and most readers
ing up her position on the base. times so that you know exactlywhere to of this volume will probably be aware of
The boy is now directed to take the place the coin on the top ofyour head so this already. The handkerchiefs will still
handle nearest to the performer and pull that it doesn't slip offprematurely. appear to be tightly knotted together as
the whole doorframe around in a com- before.
plete circle until it is facing the audience The Ieft forefinger and thumb take hold
with the girl on the side away from the of the lower part of the knot which is the
audience. The performer can, and indeed The Knotted white handkerchief, and the remaining
should, assist and direct the boy in the Handlrencheifs three fingers ofthe left hand curl around
moving of the prop. Once this is accom- the body ofthe red handkerchief. The
plished, the boy is instructed to clap his Until recent years, a mention of knot- right hand now tosses the remainder of
hands three times, and when he does, ted handkerchiefs would have brought the white handkerchiefover the knot to
Halelujah, a miracle. immediately to mind the name Charlie hide it from view.
Edwards. Charlie was a street magician As this is done, and you are explaining
Go on, try it. I dare you. who sold magic instructions for a few to the spectator that you want him to grip
pence, one ofwhich was for the knotted the knot tightly through the handkerchief,
handkerchiefs. He is no longer with us the left fingers pull on the body ofthe
The Goin Vanisfr and to most of the younger performers red handkerchief and the left forefinger
today he is just a name which was occa- and thumb push the knot upwards, and
This is an impromptu effect which is ideal sionally mentioned in the Gen magazine, offthe end ofthe red handkerchief. They
for amusing a group of adults if there is and in perhaps one or two of the Lewis are now separate and both are being held
a small child present. The child will also Ganson books. by the left hand. It is impoftant at this
find it amusing. The effect about to be described is point for your left hand to be just above
You hold a coin in the right fingers and not one that Charlie performed, but waist height and almost pressed against
thumb. The left hand is held palm up. the handling is his, exactly as taught to the spectator's tummy. This way, he will
You are facing the child. Fairly quickly yours truly and many others in the early be looking down on the action, and as you
you strike the coin on the left palm, then nineteen fifties when, as an old man, he offer him the knot, the right hand spreads
on top ofyour head, then on the palm at started associating with magicians. the white handkerchief a little more.
which point the Ieft hand closes, appar- The effect has become standard. You As soon as he takes the knot, you
ently over the coin. invite a spectator to tie two handkerchiefs drop your left hand, still holding the red
Unknown to the child but obvious to together, by their corners, with a reef handkerchief, and pass the handkerchief

32O NOW YOU SEE rT

behind your back to your right hand.
Once the right hand has the red handker-
chief, you adopt a closed fist on right hip
attitude so that the red handkerchiefis in
fulIview, to the audience, but out of the
assisting spectators line of vision.
You now instruct the spectator to reach
under the White handkerchief, with his
other hand, and without looHng, undo
the knot. When he tries, he will eventually
discover that the otler handkerchiefis no
longer there. Say to him, "I have another
red handkerchief here, let's try it with this
one", as you bring the original red hand-
kerchief into view.
This is hardly an effect which will stand
on its own, as a single item. If it is to be
used at all, it should be obvious that it
should be included as a fill up in another
handkerchief effect. If you already per-
form the Edwards/Slydini type knotting
routine then this effect is a natural for
inclusion.

NOWYOUSEETT 32r
 cvc
Patntctr Page Interviewed b5r Matthew Fteld

ApilzooT
From The Magic Circular, the monthly magazine of The Magic Circle.
Used with kind permission of The Magic Circle.

The late Patrick Page did it all-stage Mz Did you know thk was going to be a magic book, I went back the next week
work, close-up, working behind a magic briefjob, or !)ere youheadedfor a career in and bought another one, and that's what
shop counter, working conventions, tour- plastics? started it. Not long after that mywife and
ing, writing books and magazine articles, P: flaughs.] I left school when I was four- I moved down to London and I joined the
making videos, consulting for individuals teen. There is no career for people who Unique Magic Club run by Harry Stanley
and TV programmes. His energy at age 78, leave school at fourteen because you have and in 1954 I started working in a magic
when this inteffiew took place, was that no education. So that job in that plastic shop called The Magic Corner run by Dick
of a man twenty years younger. factory I got that when I came out of the Chavel. Since then that's all I've done,
He was considered by many, myself navy. I was in the navy two years, three apart from one briefperiod for a few
included, to be perhaps the most knowl- months. Before I went into the navy I months when I took a job in an injection
edgeable man in magic. Here are some of worked in a toy factory and when I came moulding plant. Then I thought, 'qdVhat
his thoughts. out ofthe navy the toy factory didn't ex- the hell am I doing here?"
ist. So I got ajob in a plastic factory but I I worked in The Magic Corner for two
Matthew Field: How mdny years hatte you didn't care. A job was a job was a job. years, then he moved across the road to
been involved in ma@c? another store and I did two years there.
Patrick Page: Since r949,gSve ortake six M: Andhow didma@c enter the scene? I had started doing a few shows by then,
months either way. P: I picked up a second-hand book in a and I opened a mail order business selling
Mz You once told me that,prior to this, you second-hand bookstore. It was only one mostly my own stuff- Ten Second Paper
had been doing something in plastics. Injec- shilling. I looked through it and bought it. Tear, Chameleon Clown - plus a few stan-
tionmoulding? dard things if I could get hold of them. If
P: Yes, prior to being interested in MzWere you doing tricks for your mates? I could afford to buy them! I had that for
magic I was working in a plastic factory P: Not really ... I'd usually go to the local a year or two and by then was doing more

in Scotland, a giant factorywhere they varietytheatre regularlyto see the shows shows than anything else. That was the
manufactured acetate chips which were was before I was interested in mag- problem. Someone would phone up and
-this
ic-I remember most of the acts I'd seen, ask if I would go somewhere for a week or
then moulded. But I didn't know anything
about moulding or anything; that came magic or othenvise. I remember Chris two and I'd go! So the so-called business
two or three years later, after I moved to Charlton, Kardoma - British magic acts wasn't holding up too well. I just folded
London. of that time. So I had this second-hand it up and just after that Betty Davenport

324 APPENDIX
 )
l

Matthew Field and Patrick Page

rang me and said, "Do you want to come in the other hand. You tip the tube and M:When didyou sturt inventingmagic?
and work for us?" and I said,'Yeah, sure". pour a drink out of it, into the glass. Now, P: The first trick I had marketed was
you say, "It doesn't look spectacular, but called'One in the Middle', a Three-Card
M: How long did you work for Dattenports? where did it come from?" And you turn Monte using one double-faced card. If
P: Exactly thirteen years and ten months. the Phantom Tube to face the audience there's no gaffed card you've got nothing
and they see right through it, because to sell. This was about 1954 and there was
Mz A skill that demowtrators mdy develop there was actually a glass in there, with a nobody doing the Three-Card Monte us-
is the ability to take a product and d.evise bottom, but after you did the pouring you ing a double-faced card.
somethingthat looks really good, so that the drop it into a well in the table. Actually, I
item sells. dropped it into a top hat that was on the MzYou'le inyented a large number of tricks
P: I was good at that. As a matter of fact table. And then you show the tube empty! and effects such as Easy Money, the Kitson
I just found a prop which I brought in for [Laughs.] I'd forgotten about that until I Miracle...
The Magic Circle Flea Market, a metal found this tube. P: I've had various rope tricks, the Ten
Phantom Ttrbe, as it's known in America Second Paper Tear, Chameleon Clown,
- we call it a Ghost T\rbe over here. I only MzWhat kind of an act did you do? You said Golden Girdle - yes, there were a few
used it once but I think I found a new use you were doing ewrything. Did you work over the years.
for it! There's one version where you van- theatres? Astage act? Children's sltows?
ish a bottomless tumbler, but I came up P: Anything, yes! I worked for deafand M:Were these things that you invented to
with a thing in which I'd pick up the tube, dumb people, blind people, young people, sell or were thE things you had been uslng in
without showing it empty, with a glass old people. your performances?

APPENDTX 325
 P: Do I? [Laughs.] The stacked deck, and finished up being the comic in all
funnily enough, I got from one of the the sketches while he sat in his dressing
Hoffmann books lModern Magic, page 5ol. room smoking cigars.lLaughs.l All for the
It's Eight Kings [Eight kings threatened same money. But I learned a lot from him,
to save ninety-five ladies for one sick things like,'nVhen I'm talking, keep your
knave] and I learnt it. That was way back mouth shut". And, "If I get a laugh, wait
in the beginning, and then I saw Charlie until they finish laughing before you do
Edwards [English street magician] doing your line".
things with a stacked deck in the streets
and I bought his instructions, which I still Mz Haw you been able to pass on some
have to this day. I got to know him and at of thb afuice to others? I know you hatte
some point I realised that there was no coached individuals.
point in learning another stack, I already P: Yes and no. There are some things
knew Eight Kings. I watched Charlie and you have to learn for yourself. Timing is
he was cutting to any card, so I cut to any something you either have or you haven't.
card.lLaughs.) Ifyou haven't got it, you can learn it, but
M:Beyond just cuttingto any card, there only from experience. It's very diffrcult to
P: Invented to sell. But I used them all. are two elements in your routine with the teach. I'11 always remember the first time
I wouldn't sell anything I didn't think stacked deck that I think are worthy ofnote. I saw Johnny Hart, and he was only a kid,
was practical. I'11 give you an example. The first is handling a stacked deck as though seventeen at the time. He was natural. He
The Chameleon Clown, which was a very it were not stacked, so the idea of a stack is had it.
big seller in its day, was a kid's trick in not suspected. Beingloose with it, so to speak. M: Can you teach someone showmanship?
which there's a picture of a clown whose And second, being able to keep the audience's Or is the ability to walk out on stage and
suit changes colour. At the end you turn attention throughout, through routining and haue people relate to you somethingyou're
it round and it's a different colour. That stagemarchip. bornwith?
goes back to the 195os. I was talking to P: It can be learned. Everything can be
Tony Corinda, who at that time had a P: I throw in a couple of other bits, like learned. Ifyou're a natural you're ahead of
studio in Berwick Street in London, and stealing a card out and producing it, and the field, but it can be learned. I've seen
he said he didn't have any kid's tricks. doing a Top Change to change one card to magicians who come out and they've got
He was known for the mindreading, but another. But ifyou analyse it, every single the hair, they've got the suit and every-
occasionallygot askedfor akid's trick. I item, I doubt whether it takes more than thing, a big smile on their face, and they
asked him what kind of a kid's trick and three seconds! That's part ofits attrac- walk out there hoping everyone's going
he said, "Oh, I don't know-something tion, the fact that there's no time wasted. to like them. Well the answer is you don't
with a picture of a clown would look nice Something's happening all the time. My hope they're going to like you. You make
hanging on the wall". So I went offand pet hate is the magician who walks out on them like you. And it can be learned.
invented the Chameleon Clown. Just for stage and talks for five minutes. This guy's A mixture of sryle, personaliry patter,
the record, we sold troo ofthem in ten supposed to be a magician! Where's the authority, confidence, relaxation - it can
months. But I used it myself, a thousand bloodytricks?! I shouldn't saythis, and be learned.
times, on kid's shows. And it was ripped somebody's going to hate me, but magi-
off all over the place, as everything is. cians who open with a trick and talk about M:You've spoken to me before about some of
it for five minutes before they do it need the places you'rte worked. Some of them l'd
Mz There are a couple of things you did not their heads examined. AII that talk and thinkwerertery dfficult places to do magic,
intent that you haue become ttery well-known nothing's happeningl strip clubs and workingman's clubs. Places
where the audience is not there to see the
for. I am thinking specifically of routines with
a stacked deck and the Topit (tanisher). MzYouwerefeatured on a show calledFak- magician. But you also seem to look back on
P: Well, the Topit speaks for itself. I saw ing It (ora British televbion) which dealtwith all ofthose erperiences with no regret.
George Davenport do it, liked it, and went making a person with no magic experience P: I've enjoyed every minute! Every
home and played with it. It's the original into enough of a magician to fool a panel of minute!
design marketed by Wi[ Goldston intgrz, judges. You were called in to the programme It was absolutelywonderful. I did thou-
which I only found out recently. I used to as an erpert in the presentation and theat- sands of stag shows-they're the easiest
produce four billiard balls in my act and rics. Where did you learn those skills? Just audience in the world-once you know
vanish them using a Topit. from watching stage shows? The school of how to handle them. Because they all
hard knocks, as they say? come there to enjoy themselves. And part
Mz I've seen you spend about ten minutes on P: That's it. When I first started perform- of their enjol.rnent is heckling the MC
stage doing stacked deck material-produc- ing I was with a little show off and on for and the acts. But once you know what's
ing a named card. You seem to be able to two or three years and there was a come- going on and you know how to handle it,
take things that a lot of magicians just pass dian in the show called Jimmy Fenton, an it becomes one big laugh and everybody
over covtsider pass|-and develop these old-time comic from the music halls and enjoys themselves. The other thing about
-or
things into full-blown miracles and audience variety, and I learned a lot from him. I that is, if a trick goes wrong-who cares? I
pleasers. started out doing a magic act in the show remember once doing a Top Change, bang

326 APPENDTX
bang, and a zo-year old kid shouts out, "I Cigar. One can tell from lbtening to the it's desirable, ifyou can find a couple of
sawyou change it!" And I answered, "Of interview that you had great respect for Ver- tricks for yourself. I know this business
course! How else could I do it?!" lLaughs.) non. Are there others who were an Wuence has changed all over the world, but if
It doesn't matterl onyou? JohnRamsay? you're going to work through agents, for
P: Vemon, unquestionably. Ramsay was instance, you have to give the agent some-
Mz For a fellow who quit school at fourteen different than anyone else. Ramsay always thing to sell. So if you've got something
you haye written a good number of books, fooled you. But you've got to remember unique then you're ahead of the game.
includingBell's Magic Book, Bell's Book of that his hobbywas fooling magicians, and With me, I've got very little of my own in
T?icks, The Big Book of Magic, Magic By he stated that many times. But he was a that I tend to go for classics, but I try and
GosL5 a classlc, The Pull Book, How to En- complete master of misdirection. give them little wrinkles. The one thing
tertain Children with a Glove Puppet and I did have, and I was doing lots of work
articles in Club 7r, "The Page Boy Speaks" in M: As was Albert Goshman. for ages, was that I was reliable. I always
Pabular, a phenomenal column you're cur- P: With a vengeance. More so, I think, turned up on time and the audience en-
rently writingfor The Magic Circular (!), af then anyone else. The ones I had great joyed themselves. My attitude has always
least four sets of lecture notes, maybe more... respect for and admired and leamed been, "Let's make it aparay;let's have a
P: I don't know. You missed out a few from - my two favourite magicians were good time".
books. And the videos. Al Flosso and Jay Marshall. Al Flosso was
a one-off. Jay Marshall was a one-off I Mz Do you have any unfulfilled aspirations?
M: "tik-A-Tapes you did, and the
Yes, the heard other people compared to them, P: I never had any aspirations-I just
videos. What's your relafionship with books? "He's like Flosso", but nobody was. Who wanted to make a living. This is another
Do youlike them? could say one single bad word about problem today-everybodywants to be a
P: Oh yes. If you're interested in magic, Channing Pollock or Norm Nielsen or star. My daughter and son were having a
read everything you can lay your hands Johnny Thompson? They're all funny men discussion about me and they decided I
on. Whatever it is. Just read. If you're or great acts, but for me, Flosso and Jay was a success because I'd done what I'd
interested in card tricks then you have to Marshall were out on their own. wanted to do my whole life. And there
have Royal Road to Card Magic and Exp ert aren't that many people who manage to
CardTechnique. If you're interested in Mz Are there any magicians working today, do that. Arrd financially I'm reasonably
coin tricks there's only one book, the other than lohnny Thompsoq who haye secure-not wealthy, but I'm OK.
Bobo book lNew Modern CoinMagicf.Ma- greatness ofthat kind?
nipulation generally, the Buckley Books P: Paul Daniels! He has it all. Johnny Hart M:I neyer heard any Scot say hewas
lCard Control, Principles and Deceptionsf. had it all. Bearing in mind they're two dif- wealthy. But magic has been goodto you.
If you want to do silk magic there's Rrce's ferent types of acts. P: Oh yes. I've been all over the world.
EnEclopedia of Silk Magic. Which for someone who left school at
MtWhat do you think about young people fourteen and grew up in the Scottish tene-
M:What about dealwith
books that coming up today and learning from ddeos ments, that's not bad. And I'm still enjoy-
presentation, Henning Nelm.sb Magic and or hying to make it in a world in which the ing every minute of it. Every minute.
Showmanship for example. opportunity for stage performance is limited"
P: Those books are interesting to read, although there's still cntise work around. The
but I am not sure-the Fitzkee Trilogt, world of magic has changed dramatically
there was one page that was interesting. from when you started out. Patrick Page was born in Dundee, Scotland
P: I started out working in pubs, working- on t7 March ry29 and died in London, Eng-
}.I:Thelist? men's clubs and bars, doing a stand-up land on n February zoto. His wife of more
P: Yes. Of audience appeals. Colour, act, not close-up. I think the young guys than 53 years, Margaret, passed away in
excitement, sex-you know. And ?he today who don't do a stand-up act are Nouember zoo3. He lefi behindhis daughter
Trick Brain-I didn't go for that too losing out. I think that someone who has Janette and. her husband Philip, a son Jeremy
much. I've read them all and one of the done a reasonable amount of stand-up and his wife Eileen, a grandson Robert, a
big problems with all those books, and work will probably be a better close-up sister Nan and her family in Canada, and a
some I haven't read for manyyears now, magician than someone who hasn't. It is brother George in Dundee, as well as hun-
is that they don't tell you anything at all still possible to do a stand-up act, even if dreds of admirers and magicians the world
about performing. They give you rules and you have to do it for free. Do it for Sunday over to whom he gave his nonpareil expertise.
regulations, the ABCs, don't turn your Schools, for old folks'homes, anything He was cremated at Golders Green Cremato-
back on the audience and all these kind you like to get the experience. Ald learn rium on t March zoto. At this last exit from
ofthings but they don't tell you anything the classics, even ifyou don't finish up the stage Patrick Page receiyed a standing
about performing, about this business of actually performing them. Learn the clas- ottafion from those gathered to show their
being in command, making an audience SlCS. Ioue of a great man and legendary performer.
like you-it can all be done, it can all be
learned but it takes time. M: How important k it for a magtcian to
develop his own effects or haue fficts that are
M: with
There's a gredt tape and now CD unique to his act?
you andDaiVernon,From the End of My P: I'm not sure that it's necessary but

APPENDTX 327
?- 1*- f r ll

I
U