AUGUST 1993 TIPS ON “ Introduction For many years, "Soft Soap" has been one of the standard effects. A good magic effect that almost every magician has included in his act. It has been presented by the greatest professionals and by the newest amateurs, but whenever presented it has proven that good magic is always good entertainment. Originated by Dr. Howard B. Kayton, and with the original rhymed patter written for it by Doc Hallock, “Soft Soap" won the Genii Award for the best trick of the year in 1942, In 1943, a suggestion by Fred Rickard (in Geni magazine) brought about the introduction of "Sophisticated Soft Soap," a variation in presentation that changed the scope of the effect. That same year, Geni | magazine honored “Soft Soap" by calling its sophisticated variation the best comedy trick of the year and in that same year Sphinx magazine gave it its annual award. To these honors -13- OFT SOAP” GS &a every working magician has added their own new twists and variations to fit their varied presentations. These have included Kenneth Allen's "Rabbit Soft Soap," which has kept magic audiences conscious of the value of this classic of magic. Realizing that there have been many suggestions made in the use of "Soft Soap," Stuart Robson asked me to compile a collection to be called "Tips On Soft Soap." In my compilation | have given credit to that performer who first brought these tips to my attention, as far as I have been able to do so. If I have overlooked anyone in the giving of credit, it has been unintentional. 1 hope that you will enjoy "Soft Soap" a little bit more and that your audiences will enjoy your presentation of it a lot more from now on. — Gordon MacDonald-14- The standard setup for "Soft Soap" consists of three inkstained (or lipstick stained) handkerchiefs and three clean white hankderchiefs. One of the white handkerchiefs is prepared, having a cardboard sleeve fastened at its center inside point, forming an opening into the top {sewn) portion of the sil self. This silk is sewn in such a way that items pushed through the tube will go into a bag-like container within the silk itself. The top corner of this silk contains a bead (or knot) to be used as a gripping handle. In addition, a number of folding boxes are supplied. Assemble one of the boxes by opening it up. Fold in the bottom flaps and use a small piece of cellophane tape to keep the bottom flaps secure. Into the open top of the box insert the two plain and unprepared white handkerchiefs. The prepared handkerchief is placed, bead corner first into the box, so that the open portion of the cardboard tube is facing upwards at the open mouth of the box. Fold or push aside the extra silk material so that you can load directly into this exposed tube. The tube will allow the prepared silk to stay wedged where you want it. It may also be gripped from outside the box by applying pressure with the thumb and fingers. Now close the top of the box and seal it with cellophane tap. The three stained handkerchiefs are on your person or ‘on the table (or are to be produced). In performance, display the box, showing it on all sides (holding the upper part of the box in your right hand where the fake is positioned inside the box. Open the top of the box by removing the tape tab. Lift up the covering flaps. Take the first stained handkerchief and push it down into the box. The handkerchief actually goes into the fake handkerchief, through the cardboard tube. Note: It is more effective when, in the act of poking the stained handkerchiefs into the box, to insert all the fingers into the box at the same time, but to use only the index finger for the actual operation of pushing the handkerchiefs into the fake. THE NEW TOPS This procedure is followed for the two remaining stained handkerchiefs. The top flaps of the box are then closed and again held in place with the tape tab. The box (and its contents) is now turned upside down, with the explanation that this is how the soap powder works best. The box is then shaken up and down several times. The top (originally the bottom) flaps are opened and a clean handkerchief is removed and displayed by waving it in the air. The next handkerchief you remove should be the prepared handkerchief {bearing the three stained handkerchiefs inside). In removing this handkerchief, grasp the bead {or knot) and remove it from the box with a shaking movement. This movement allows the lower portion of this handkerchief to fall over the tube portion quicker. This shaking movement should be duplicated for each of the handkerchiefs removed. The — third handkerchief is then removed from the box. As far as you are concerned, the trick is accomplished, but it will be evident that the audience is mot convinced. They will want to see the inside of the box. After a bit of sucker by-play and feigned hesitancy, you slowly open the box, tearing it into pieces. TIPS ON PREPARATION Soft Si Suggestions by "Hen" Fetsch "Hen" Fetsch, whose book "Milk Pitcher Magic" contains several fine suggestions for the use of "Soft Soap" in conjunction with the "Milk Pitcher," has sent along the following suggestion as a means of helping with the correct removal of the special handkerchief. Cut a small slit in the top part of the left hand side (when it is being held with the front of the box facing the audience) of the "Soft Soap" box.AUGUST 1993 Have one end of the special handkerchief (the end that is diagonally opposite the bead), inserted through this slit so that not more than an inch of the end might show. This small portion of the handkerchief may be hidden by the hand of the thumb whenever the box is handled during the presentation, You will find that with a very small amount of care during your presentation you can effectively keep this small tip of the handkerchief from being seen at any time. When you have completed your turning of the box, and are ready to withdraw the clean handkerchiefs, hold the box at the bottom, the left hand covering the handkerchief tip, and then remove the handkerchiefs in the normal manner. When you are ready to remove the special handkerchief, maintain a firm pressure on the outside corner of the hank with the thumb of the left hand. This results in the handkerchief completely unfolding before leaving the box. Release the pressure of your thumb just in time to allow the complete removal of the special handkerchief, thus insuring its removal without any portion being folded back or in an awkward position, 1 am sure that you will quickly appreciate the help that this little tip on presentation will give you in the more simple working of the effect. Floating Soft Soap Box by Stuart Robson Stuart Robson (the inal Conjuror of The Conjuror's Shop), made a very simple little twist into an unusual interlude in the regular "Soft Soap" presentation. He pressed a thumb-sized hole in the back of the "Soft Soap" box during the early presentation of the effect. This can be done before the show, if you wish, and the depressed portions of the box can be set back in place so that it will be unnoticeable to the spectators during the beginning of the effect. -15- When you come to the so-called “washing process" during which the box is usually shaken up-and turned around, you can add a touch of eerie comedy by using this thumb hole in the following manner: Insert the right thumb into the hole in the back of the box so that it fits snugly or tight. Hold the box with both hands, the inserted thumb hidden from the audience view, and begin to shake the box up and down. Your patter at this point may follow the line that the wonderful thing about the soft soap you are using is how light it is. In fact, the more you use it, the lighter it gets as the mystic cleaning gases are released within the box. Sometimes it even gets lighter than air itself. As you have been pattering, begin to manipulate the box by means of the inserted thumb so that the box seems to be trying to rise in your hands. After pushing it down several times, allow it apparently to glide away from you as you seemingly follow it with your grasping hands to bring it back under control. Do this several times until, at last, you loosen your thumb from the box and actually flip the box into the air, free of your hands, as if it had gotten completely away from you. Catch it in the air, saying that that is light enough, turn it upside-down, and proceed with the rest of your presentation, 1 am sure that with a little practice you will be able to make it appear as if the box were actually floating in the air and trying to rise out of your hands. This type of interlude should prepare the audience to join more freely in the closing features of the whole effect. TIPS ON INTRODUCTIONS Karrell Fox's Introductions Karrell Fox, the "King of Korn,” uses the following gag as an_ introduction to his presentation of "Soft Soap."-16- "Ladies and gentlemen ... we have some celebrities in our audience this evening. You've heard them on the radio; you've seen them in the movies; and here they are in person! It's those international favorites of stage, screen and radio, the four Ink Spots!" If there is music available, a few bars of the Ink Spots theme song is very appropriate here. Next, the witty magician removes his folded pocket handkerchief and imprinted thereon for all to see are four large blotches of ink! This is Karrell's way of starting the ever popular "Soft Soap" trick. Another gag used as an_ introduction by Karrell Fox is as follows: The first handkerchief is removed from an inside coat pocket. The performer acts embarrassed at finding the spots but nonetheless says, “A clean handkerchief! He removes a second handkerchief from the same pocket and appears even more annoyed at finding spots on this one, too. He sare "It's a good thing I always carry a "He then removes the third spotted handkerchief and says, “What? This one, too?" Then look into the pocket and say, "Hmmm, no wonder!" Then remove one of those large-size jumbo fountain pens as sold in novelty stores. Then, of course, clean the handkerchiefs as per the regular “Soft Soap" routine. What Do You Use? by Corde Here is another suggestion that has been used to provide a good laugh and an early Purchase a box of Rinso (if you can) that is the same size as the box used in the effect. Cut the front from the Rinso box and glue it to the printed back of the supplied box, trimming it to the proper size. This will give you a box with two fronts; one the supplied box and the other a Rinso box. Set up this THE NEW TOPS Prepared box as is done in the regular presentation of "Soft Soap." Place the box upon your table with the Rinso side facing toward the audience. When you are ready for the effect, pick up the box, keeping the Rinso front facing outwards and say, "Here 1 have a box of Generic Soap Powder The audience will, no doubt, correct you by saying "Rinso!™ You then say, "Oh, no, it's Generic!" You then turn the box around showing the side indicating Generic Soap Powder. This should get a good laugh at the opening of the effect and it prepares the audience for their later vocal participation in the closing of the effect, when you work the usual "sucker" finish. TIPS ON ENDINGS Down In The Audience by. er, One method of getting more out of the "sucker" ending in your "Soft Soap" presentation is to bring the climax of the effect right down among the members of the audience. The following procedure may be used. Work the routine as you usually do, removing the special handkerchief from the box second instead of last, as suggested in the original instructions. Then proceed as follows, suiting your own patter to the following presentation: "New to prove to you, beyond the shadow of a doubt, that there is nothing wrong with the workings of my wonderful dry cleaning soap, | should like to come right down among you and have a member of the audience help me close this effect." Come down from your platform (or away from your table) where you may be working and move into the audience. Choose either a pretty girl or a lively youngster to assist you. After you haveAUGUST 1993 made the necessary introductions, whisper something into your assistant's ear and smile broadly at the audience. "I have chosen one of your own group to help me finish my presentation so that no one can feel that there is anything wrong or that I am trying to deceive you. [ shall now ask my assistant to reach carefully into the box and remove the last handkerchief that is there." As you say "last," give the assistant an obvious wink and wait for the repercussions. It will not take long for someone to comment on the wink and to cast doubts on the emptiness of the box - especially if you close it up after the third handkerchief is shown clean and ordinary. From here on in, play up the part of the embarrassed magician who has been caught in some trickery. Appeal to the assistant to verify the emptiness of the box. When you have worked this part of the gag as much as seems wise, then proceed to tear open the box or to disclose its absolute emptiness as you usually do. If you wish to do so, you may use white handkerchiefs in the effect and leave the third handkerchief with the assistant from the audience as thanks for the help given. A Surprise In The End by Jerry Blount Here is a twist on the usual "Soft Soap" routine which has a surprise element that is always good for a faugh. The effect is done as usual right up to the very end when, after the "cleaning process" is over, the handkerchiefs removed from the box are still ink-spotted - but the color of the handkerchief material is gone! This may be accomplished by substituting three colored handkerchiefs (with spots) for the three white handkerchiefs (with spots). In this routine the three plain white handkerchiefs are not used. The effect is that three colored handkerchiefs with spots are "cleaned" and the spots -17- remain but the color of the handkerchiefs is magically removed! This is a surprise type of ending which is sure to fool the fellows who think they know what you are about to do. Delayed Reaction This is a brief variation in the matter of presentation which will make it possible for the magician to take advantage of the apparent failure of his effect to work. Prepare the box and the handkerchiefs for presentation as usual. Put the first two stained handkerchiefs into the box as in the original routine but put the third handkerchief over far to the opposite side of the box by itself. Close and seal the box and perform the usual turnover. Produce the two clean handkerchiefs normally, and then withdraw the third stained silk, leaving the special clean handkerchief in the box. Upon the production of the stained silk in place of the expected clean one, appear sufficiently embarrassed. Account for this failure of the soap effect as being due to its weakness ... or to weak magic. Close and seal the bottom of the box, turn it over again, open the top once more. Place the stained silk back into the box in the usual manner. You may now proceed with the presentation in the usual form, removing the special handkerchief and then showing the box empty, with all the handkerchiefs clean. Carefully presented, this can provide the magician with an extra opportunity for comedy and also with a delayed reaction on the part of the audience. The its Inside by Dr. R. D. Moore This is an unusual variation for the ending of "Soft Soap." It gives you another laugh and provides a valid reason for tearing the box open at the close of the routine. Using a watercolor brush,-18- dipped in ink, mark spots on the inside of the box. After these have dried the box is folded and used in the usual manner. At the finish of the effect, when the clean handkerchiefs are produced, the performer asks, "What became of the spots? Why, that's simple! We just left them inside the box!" The performer tears the box open, shows the spots inside the box and tosses the box into the audience. TIPS ON PRESENTATION Milbourne Christ Presenta’ rs The following presentation emphasizes the way Mr. Christopher could make a fine trick into something even more special. In his own words: “As | use no tables, and work mostly in hotels and in supper clubs, this presentation is designed accordingly. ” ‘A trick with three handkerchiefs,’ the wizard heralds, as he pulls three handkerchiefs from his inside coat pocket. He holds them up, with a smile which changes to an expression of chagrin, as he notices that not only are they marked with big black splotches of ink, but also with very embarrassing holes. (After my first few shows 1 cut holes into the handkerchiefs because many spectators thought that a chemical process bleached out the spots while they were in the box. When the holes vanished, too, that made it a more mystifying trick, for unless the audience is convinced that another set of silks is concealed in the box the sucker effect is non-existent.) " "By any chance, has anyone in the audience a box of soap powder?! he inquires, with a lifted eyebrow. There is a tap on his shoulder and the orchestra leader hands him a box of soap powder. THE NEW TOPS "Ah - a coincidence!’ explains the performer. He then opens the top flaps of the box. ‘A little laundering background music, if you please.’ The band swings into a few bars of very upbeat music. The wizard pushes the soiled silks into the box and seals the lid. He shakes the box up and down a few times. He then moves the box from side to side - explaining that this is the ironing process. All the while the drummer in the band follows his motions with appropriate rofls and rimshots. "Suddenly he holds the box still. The music stops. He tears open the bottom of the box (the audience has seen him reverse the box during the shaking process) and produces three clean handkerchiefs, These he tucks, one at a time, into his coat pocket. He then turns the box upside down and shakes it while the band strikes a chord. "The applause at this point is polite and hesitant. The performer looks amazed. Then he apparently thinks of the box. ‘Oh, the box,’ he says, then smiles and tears the box open. He then tears the box into little pieces which he tosses back into the bandstand area. His bow music begins immediately as he leaves the floor." Done With A Stoog We realize that almost every magician dislikes effects that are done with the aid of a stooge, but particularly in cases of large shows, the use of a stooge makes possible effects which are effective and which are impossible to achieve in any other manner. Here is a "Soft Soap" presentation which makes effective use of a stooge in a larger audience. Plant a white handkerchief with the stooge and retain a duplicate for use in the "Soft Soap" box. This effect is best presented when handkerchiefs coloredl red and blue are used in addition to the planted and duplicate white. When presenting the effect, show a stained red and a_ stained blueAUGUST 1993 handkerchief and place them in the box as usual. Then lock about unsuccessfully for a white handkerchief - then appealing to the audience for the use of a clean white handkerchief - and, of course, accept the one the stooge offers. Comment upon its whiteness and clean appearance and tuen say, "We can't have this! Remove your fountain pen and carefully (or carelessly) spot the borrowed handkerchief liberally with ink from the pen. Put this stained white handkerchief into the box in the usual manner, In making the production of the clean handkerchiefs, produce them in the order in which they were first inserted into the box - saving the “borrowed" handkerchief for last. Note: If the borrowed handkerchief is initialled or if it has a distinctive border or marking, the effect will be even stronger, for the stooge can obviously identify this as the handkerchief which was ink-stained before his very eyes a few moments before. When presenting “Soft Soap" before a large audience, this verification process makes possible a very effective presentation even though a stooge is necessary. A Running Gag by Franklin Boecket By following this routine it will be possible for you to build up your show to a climax with "Soft Soap," and also to provide suspense through the use of @ running gag, that will keep your audience with you for most of the closing effects of your show. Set yourself up in advance of the show by having an ink-stained white handkerchief in your outside coat breast pocket a fountain pen in place alongside it. Another _ink-stained handkerchief is in your inside coat pocket and a lipstickstained handkerchief is -19- in your right hip pocket. In addition, be sure to have a plain pocket handkerchief in your customary pants pocket, right or left side. Throughout the show, as you complete an effect, reach into your pants pocket, take out your regular handkerchief and wipe either your hands or your brow (or both) as you will, Put the handkerchief back each time until, as you come near to the end of your show, look at the handkerchief closely and then throw it onto your table or into your suitcase of discarded props and material. Go on with your show and do your next trick, then reach for the handkerchief again. Finding your pocket empty, you comment about carrying “a handkerchief for show" as you reach for the handkerchief in your outside breast pocket. Without looking at it, pat your brow with the handkerchief and start to replace it back into the pocket. When you catch a glimpse of the ink stains, fully open out the handkerchief and make a comment about cheap fountain pens, etc. Toss the handkerchief onto your table, near the prepared soap powder box. Then remove the fountain pen from the outside breast pocket and put it into your inside coat pocket and go on with your next effect. As you finish that effect, reach for the handkerchief in the breast pocket. Upon finding it gone, indicate that you remember that that handkerchief had been discarded because of the ink stains. With some comment about the wisdom of always carrying spares, reach into the inside coat pocket for the second handkerchief. Remove this and pat your brow. As before, in the action of returning the handkerchief, catch a glimpse of the ink stains on this handkerchief —_—_ also. Allow the handkerchief to open out fully and then discard it alongside the first handkerchief on the table. Again make a comment about cheap fountain pens. Remove the fountain pen and wrap it in a piece of newspaper - to keep it from further leaking - and place this wrapped package away. Go on with your next effect.-20- When finished, again reach for a handkerchief and, upon finding it gone reach into the right hip pocket - with some suitable comment - and pat your brow with the handkerchief. Upon lowering the hand, catch sight of the lipstick stains and allow the handkerchief to open out fully for display. With the comment "This has gone far enough," announce that “I'd better clean that up before my wife sees it." Then go into your regular "Soft Soap" routine. It can be seen that this will provide an effective running gag which will lead up to the dramatic and logical presentation of "Soft Soap" as a climax for your show. You will find that the use of such running gags will increase suspense and humor with their continued use and, if well done, will make the "Soft Soap" effect the best remembered item in your entire program. TIPS ON COMBINATIONS Sabar's Combination Sabar, "Man of Many Mysteries," hit upon this effective combination of "Soft Soap" and the "Twentieth Century Silks" ‘one evening when necessity really was the "mother of invention." At a recent show he wanted to use both effects - but when he unpacked his show he discovered that he had forgotten to bring along his vanisher for the silk in “Twentieth Century Silk: and he did not want to use the palming vanish as he was using it in another effect. He then quickly worked out the following combination of the two effects and produced a double-barrelled presentation that he has used, intentionally, many times since. Show the audience the three "Twentieth Century" silks and the three ink stained "Soft Soap" handkerchiefs. Remark, "| had an accident the other day. | spilled ink on some of my hankies. However, THE NEW TOPS these three (the ‘Twentieth Century’ ones) were untouched." Tie two of these together, in the regular manner, and place them in a glass, in plain sight, on a table. Next, go into the usual "Soft Soap" routine and after the third stained handkerchief has been inserted into the box, pick up the third "Twentieth Century" silk (the one that is to be vanished) and insert it also into the soap box in the regular manner (on top of the three stained silks). Continue with the "Soft Soap" routine, ignoring the fact that one third of the "Twentieth Century" effect has been, apparently, left inside the box. When the box is opened (or is torn open) it is seen that this silk has vanished. Next, pull the tied together silks out of the glass (where they have been in full view all of the time), and the vanished silk is found between them (in the usual "Twentieth Century" finish). A Line Of Wash Here is a method of working "Soft Soap" into the rest of your show and making a climax effect out of it. Just before doing "Soft Soap" do a rope trick {cut & restored, rope & ring routine, a series of knots € flourishes, etc.). You end by commenting that the rope used has gotten dirty after a series of shows and then go into the patter regarding the dry cleaning properties for the soap powder used in "Soft Soap." Open the "Soft Soap" box and stuff in the length of rope. Search through your pockets, bringing out the ink stained handkerchiefs, one by one. Display each as being stained and spotted and stuff each, one after the other, into the soap powder box. Closing up the box, continue with the patter. Make the usual turnover and ‘open the box to take out the cleaned rope and silk. One end of the rope is taken first and as it is withdrawn it is seen that the silks, now clean of their ink stains, are carefully hung on theAUGUST 1993 rope (as on a clothesline), held in place with little (doll size) clothes pins, carefully placed at one corner of each handkerchief. Now what could be more convincing than the cleaning, drying and hanging on the line of the silks — all in one operation? The method of working should be obvious to anyone owning "Soft Soap," and the advance preparation of the handkerchiefs (fastening them to the duplicate rope with the tiny clothes pins) insures their removal from the box in good order. A With A rather obvious use for the "Soft Soap" box and routine would be in connection with any of the various tricks of the "Blendo" type. Load the large "Blendo" silk in the soap powder box with the fake opening towards the top of the box. If this opening does not already contain a stiffening ring at the opening, use a small section of inch and a quarter cardboard mailing tube to hold the opening open and to give you a grip on the "Blendo" silk through the soap powder box. Show three colored silks, as in the usual effect, and while apparently placing them inside the box, stuff them into the "Blendo" silk through the cardboard tube. The rest of the routine follows normally and automatically, ending with the production of the large "Blendo" silk and the subsequent showing of the box to be empty. It would be possible for you to work out your own variation of this effect, limited only by your own ingenuity. The Vitamin Wet Wash In presenting this effect there is a fine combination of two audience tested bits of magic: the "Milk Pitcher" and "Soft Soap." Load the "Milk Pltcher" with real tomato juice and use a set of white handkerchiefs and a set of tomatored handkerchiefs (in place of the usual set supplied with your "Soft Soap" outfit). -21- The patter can follow the line of the usual "Soft Soap" routine about the miraculous’ cleaning properties of the soap powder, the ease of working, etc. After you have stuffed the dirty white silks into the cardboard box, comment that this is the "vitamin" method of cleaning. State that there is no more concentrated form of vitamins than those in tomato juice - and you then pour almost a pitcher full of tomato juice into your soap powder box, Set the almostempty "Milk Pitcher" aside. Hold the box as if it were dripping liquid just a bit. Close up the top of the box tightly with cellophane tape. in going through your washing motions you may play up the liquid-spilling angle as much as you want (faking a drip from the corners of the box, pretending to hear the handkerchiefs splashing around, handling the box very gently, turning it over gingerly, etc.). This, in itself, should be productive for a good comedy interlude. Don't, howver, overdo it, no matter what you do. Now, with the box upside-down, you are ready for the great cleansing disclosure. Open the bottom of the box and take out the tomato colored handkerchiefs. Allow just enough time for this to strike the audience, showing the handkerchiefs dry, and then go into the sucker bit with the empty soap powder box. The vanish of both the juice and the ink-stained handkerchiefs and the production of the colored handkerchiefs provides a good series of impacts. Twentieth Century Soft Soap Another variation combining two standard silk handkerchief effects. To the end of the special "Soft Soap" handkerchief (which is opposite the bead), tie another handkerchief of a different color, to which, in turn, is tied a third handkerchief of still another different color. Load these three tied handkerchiefs into the soap powder box in the usual "Soft Soap" fashion, Show three duplicate colored handkerchiefs, separately, to your-22- audience. Place the first and third separately into the box in the usual manner. Then vanish the second handkerchief. Eventually produce the three handkerchiefs, now tied together, with the vanished handkerchief safely tied between the other two. In removing the handkerchiefs from the box, remove the special handkerchief by the beaded end first. This combination may also be varied by showing the second set of three handkerchiefs to be spotted or stained and by producing them tied together and all cleaned of their stains or spots. Practically any of the standard patter routines for the “Twentieth Century Silks" effect may be used in conjunction with this "Soft Soap" routine. TIPS ON VARIATIONS Take A Card Here is an effective way to combine the usual type of card disclosure with the “Soft Soap" routine so as to produce a stronger effect. There seems to be something about card tricks which captures the imagination of almost every who attends a magic show, and when they have a new and unusual twist, they make an even more lasting impression. The following idea can become a feature effect in any of your shows. Instead of using the usual handkerchiefs for the "Soft Soap" effect, obtain six different ones. Load the box with a solid red handkerchief - prepared and arranged to take the place of the special handkerchief supplied with the original "Soft Soap" trick. Then add a black handkerchief which bears several large spots of white so as to look as if some of the color had been removed in those spots. And, last of all, load in a white handkerchief marked with a black felt marking pen to represent a black spot playing card, such as the Five of Spades. THE NEW TOPS This box, prepared with the silks, is set aside for later in the presentation. When ready to perform, force (in your favorite manner) the black spot card which is the duplicate of the card printed on the white handkerchief positioned in the box). In our case, the Five of You now proceed to fail to disclose the identity of this card by any number of methods you choose. You appear to give up, saying you'll do another trick with handkerchiefs instead. Take up from the table and display a solid red, a solid black and a solid white handkerchief. Place each of them, one by one, into the soap powder box in the usual manner. Close the box and go through the regular routine of waving and turning the box. Ask the person who selected the card to concentrate on the box, impressing upon it the value of the card he has chosen. Then open the box and remove the handkerchiefs. First, the special red handkerchief; then the black handkerchief with the white spots; and, finally, the card handkerchief, onto which the black spots apparently have been transferred magically to form a picture of the chosen card. If, for some reason, you prefer to use a red card, then arrange the black handkerchief as the special one. Spot the red handkerchief with white and proceed as above. It is unwise to employ a court (face) card because they include at least three colors and are much more difficult to draw. If you wish, you may use a plain white handkerchief in place of the spotted red (or black), explaining that all the color was drained from the handkerchief to make an impression upon the original white cloth, There are many other possibilities for varying this effect, both in its presentation and in its routine, and {| am sure that each of you will be able to work out your own particular variation on the basis of the tip as given above.AUGUST 1993 How Granny Does The Wash by William V. Buckley In order to provide a longer routine and achieve several more laughs, the following is suggested. Load the box with three clean hanks. On top of them , lace the prepared paper for the "Paper Panties To Hat" effect. On top of that, place a set of dimestore false teeth. When ready to perform, patter that your old Grandmother was a very neat and clean old woman. She never used a washing machine, though, for all she needed was a box of soap powder to do a “dry cleaning" job. She'd make a pile of her dirty clothes, all ready for the wash, and then open up her box of soap powder, stuff the dirty clothes into it, close it up, shake it up and blow on it good and hard - and that was all she needed. Open the box in readiness to remove the clean handkerchiefs. Reach in and take out the false teeth. "Poor, Granny! Every once in a while she'd blow too hard!" Next remove the paper _ panties, commenting that they probably didn't belong to Granny, so we might as well tear them up. Do the necessary tearing and then restore the pieces into a hat “Well, now, that's more like Granny’ Then end the effect in the usual way, by producing the clean handkerchiefs in place of the dirty, stained ones. Wacky Rabbit Production This variation in the use of the "Soft Soap" effect makes it possible for the magician to do an interesting production of the always-expected rabbit, and still add a touch of humor and comedy to the effect. Purchase {or construct) a "Wacky Rabbit. This is similar to a “Flat Rabbit" except that it is made from terrycloth toweling, -23- has pink cloth material for the inside of its ears, a black tuft of material for the tail, two black buttons for eyes, etc. You must also procure some matching pieces of terrycloth toweling, some matching buttons, some matching pink cloth material, a matching black tuft tail and some lengths of black thread. In addition, you will need a short section of cardboard mailing tube, one and one- quarter inches in diameter and about one inch in length. Fold together a soap powder box, fastening the bottom with cellophane tape. Then place the "Wacky Rabbit" into the box, head first. The small opening at the bottom of the rabbit (it is double thickness) which is sometimes used for the production of an egg, is then held open by inserting the piece of cardboard mailing tube. The rabbit is then wedged into the corner of the box so that the fingers may hold it securely in place from outside the box. The various bits of cloth, buttons, thread, etc., are left near the prepared box on the table. When ready to produce the effect, patter about how a magician is always expected to produce a rabbit, and that some people think he produces it “out of thin air." “But,” you continue, “we know that something can not be produced out of nothing. What the magician really does is to produce the rabbit out of little bits of this and that, which he collects together and then unites magically to make his production. Why, for instance, we might take a couple of pieces of nice, fuzzy white toweling like this to make a suitable skin for our rabbit and place them carefully away in the mystic box. We'll use a soap box, of course, because everything about magic must be clean. Of course, we know that a rabbit's ears are always pink — like shells ~ and so we'll add our bits of pink cloth, soft and smooth, to line our rabbit's ears. And, a little bit of black thread to give him the proper features on his skin and face and two little buttons for his two little eyes. And, last of all,-26- a tuft of cotton to make his little black powder puff tail." While you have been talking in this manner, suit each action to the words and carefully put each of the parts referred to into the opening in the rabbit inside the box. As the tuft of tail is put in, the mailing tube can be given a little push along with it so that it, too, goes inside the cloth body of the "Wacky Rabbit." Now proceed with the patter of the effect, closing the box, sealing it, waving it through the air and obviously turning it over end for end. This done, proceed to open the bottom of the box and carefully remove the rabbit, stitl holding the box as if it contains something. This gives the opportunity for the sucker portion of the presentation, with the implied (or expressed) demand that the box be opened, This may be built up, as with the regular "Soft Soap" effect to the climax of tearing the box to pieces to prove its emptiness and its unprepared state. If desired, the loose button eyes may be threaded upon the black thread, so as to make them less likely to fall upon the floor when the rabbit is removed from the box. In actual practice, it will be found that the cloth and cotton will quite effectively cover the hole in the bottom of the rabbit, preventing any of the smaller articles from falling. The presence of all these items inside of the rabbit is not too bulky, but rather makes it appear as if the rabbit were more solid than flat. We have used this presentation several times and have found it to be especially effective with children. Instead of using a soap powder box, the box may be decorated by painting it green and it is then called "the cabbage patch." This would provide the opportunity for the presentation about the restoration of the rabbit when it was returned to its home. THE NEW TOPS TIPS ON PATTER inkstained Soft Soap. by 'Doc! Hallock | try to keep neat and clean ~ and then, I get a leaky fountain pen: It spoiled my plans for looking swanky, For see - it's spotted every hanky. (Display hanks, both sides.) Both sides are ruined. It sure seems tragic, But wait - I'll try a little magi For in my mind an idea buds, It's sorcery combined with suds. (Display soap powder box.) I'm green at laundry work, But there's hope! | simply cannot fail, With Generic Soap! Let's fold the first hank in a ball, And plunk it right in, spots and all; And then we put in number two, Perhaps the soap will make it new; And now, we're ready for the third, You think the idea's quite absurd, You'll say | really hadn't oughter, Depend on soap and not use water; (Wave the box.) But I would be a bum magician, If | couldn't remedy that condition; I swish the package here and there, And capture moisture from the air. Let's open her up. See what went on. Why, here's a hank with spots all gone; And here's another, I'll be shot! If it didn't clear up every spot! And now, as you've perhaps inferred, The spots have vanished from the third. (Slight pause-then show inside of box.) Your silk wear is all clean, 1 hope, For look! I've used up all my soap! (if sucker effect is desired, omit the above verse, use such pantomime as is necessary, then tear up the box as you use the following verse.) Well! Just to settle every doubt, I'll turn the whole thing inside out! Soft Soap Patter by Arnold Furst_ "| am sure glad the fast trick workedAUGUST 1993 because I'm not very sure of this one. It does not seem to go over as well as my other tricks. 1 think it's a very wonderful trick, though ... | invented it myself. "The idea is to do away with washing machines. All | use is this empty generic soap box. | use generic soap because none of the big soap companies would pay me for using their product. All I use is the box. I have no use at all for the soap. "These handkerchiefs have black spots on them to help you to imagine that they are dirty. In fact, you don't even have to imagine it. “The idea behind all washing machines is agitation. That is what I use. The handkerchiefs are placed into the box finsert_ handkerchiefs) and then the box is shaken and that cleans them clean. (Box is now reversed with a very obvious motion.) (Box is opened.) “Here is the yellow handkerchief completely cleaned. And here is the red handkerchief without any spots. (The next remark is apparently made under the breath but it should be loud enough so that the audience can hear it.) And let me see if I can find the right one, now, ah, yes, here is the blue handkerchief without any spots. "Now, the amazing thing is that the box is completely empty. (The performer holds the box tightly closed so that if anything were inside it would be impossible for it to fall out.) See, | can shake the box and nothing comes out. (Here the audience either makes remarks or else they politely refrain from applauding. The magician looks sad and says:) "I see you did not like that trick. Well, I'll tell you what I'm going to do. I'll just tear up the box and never do that trick any more." (Tear the box to pieces.) -27- If music is available, a long chord is indicated at this point. (After applause.) "I was afraid that might happen. Now | have to go out and buy another box of soap!" Lipstick Soft Soap by 'Doc' Hallock The magician | speak of is just like the most of 'em He loves the young ladies and has quite a host of 'em. He uses a hanky after each kiss To blot their rouge from his lips; like this {Business of blotting lips with hank.) His wife, seel pockets was feeling And discovered these hanks. Boy! Did she hit the ceiling! He said, "Honey baby, you're full of delusions. "ve just hypnotized you. These stains are illusions." "This package holds magic. You'll get a surprise To see how it clears these spots from your eyes." He took the first hank - with its marks from Irene And said, "Now the hank and | both will come clean.” He put in the second, This one was from Daisy, A redhead ~ and cute - though her brain's abit hazy. And next he took Carmen's, the Argentine rhumber. By the way, boys, I'll give you her telephone number, He fastened the box, said, "Now, give me a chance And these motions will bring you out of your trance." (Business of waving box in one hand while other hand makes hypnotic motions and then snapping of fingers.) He took Irene's hank and said, "Now, you will find This hank is as pure and as clean as my mind.” He took out the second. No sign now change, through his-28- of Daisy. He said, "You'll have to admit you were crazy." He then took out Carmen's with never astain And said, "Your suspicious mind gives me a pain." (Use either of these endings:) (Happy Ending) His wife said, "I'm sorry | misunderstood, She believed every word just as all good wives should!" (Unhappy Ending) His wife with emotion seemed ready to smother Took the hatrack and beaned him and went home to Mother! (Use sucker finish or tear up the box to the following verse:) Now | wouldn't fool you. That wouldn't be fair. There's nothing inside of this package but air! Color Chai Routine by 'Doct Hallock ‘Doct Hallock, whose fine booklet, "ScreamLined Patter Lines and Rhymes," has many verse ideas for use with "Soft Soap" in its many variations, varies his "Soft Soap" presentation by making it into a color change routine. He starts with three white handkerchiefs, and ends up with three similar colored handkerchiefs, following the usual "Soft Soap" routine. He provides us with two sets of patter, one for a regular show, and one for a children's show. The rhymes are almost self-explanatory, and the action should be fitted to the words as neatly as possible, Here's a rhymed patter for the adult show. “Three hankies," said fashionable Bess, “We'll make them be an evening dress. I think ‘twill be beautiful to show lots of cuticle, But more color is needed | guess." (During this verse, display the three white handkerchiefs, and then say in a conversational tone, "Well, the young lady was a magicienne, and here's how she solved her color problem."} THE NEW TOPS She said, "Some sorcery | shall try, To change my soap into a dye." (Pick up the soap box, display it and open it in readiness for the insertion of the white handkerchiefs, individually.) She put in one, She put in two, The third then disappeared from view. She selected the box, for, as Chinese remark, like boy friend, works faster She waved the package about a bit, And said, "Now act like Tintex or Rit." And now let's see what came to pass, Why, here's a hanky as green as grass! And here's another ... shoot me dead, if magic hasn't turned it red. The magic still is running true, For here's one that turned out blue. (During these verses, the various colored handkerchiefs are removed from the box in harmony with the patter.) And though her new gown was skimpy in places, That made an exciting display of her graces! (At this point, play up the "sucker" feature of the routine, and end by tearing open the box while you say:) Oh, well, to settle every doubt, T'll show the whole thing inside out! ‘Doc! Hallock says that he finds that cream colored handkerchiefs can be used just as effectively as white and that, if you wish patter for other colors besides the red, green and blue verses, suitable rhymes can be substituted with a little thought. His patter for a children's show is as follows: "Three hankies," said poor little Bess, Il patch my torn up party dress. The colors are light; that won't look so bright, So new colors are needed, | guess."AUGUST 1993 (Now proceed with the rhymed patter for the adult show all the way through the production of the blue handkerchief. Then use the following verse as a closing one:) Well, the colored patches looked quite dressy, They kept poor Bessy from looking messy! SHORT TIPS ON GENERAL PRESENTATION There are quite a few simple ways in which many people have added fine touches to their presentation of “Soft Soap." We have gathered some of these together here for your quick perusal. Many of these suggestions have been made by many users of the effect, and we make no attempt here to determine who was the possible originator of the idea. If it was you, we thank you for the tip. In the folding of the soap boxes you may save yourself a lot of fumbling if you will remember to seal the top and bottom with a bit of cellophane tape - and if you will turn a thin strip of the tape back upon itself to make a free tab that can be caught quickly by the fingers when you wish to open the box top or box bottom. If you do not wish to tear the soap box up into pieces for each show that you do, a little previous preparation will make the box into a repeater. Carefully separate the side flaps of the box where it is joined together, so that the entire box may be taid out flat with the unprinted inside showing. For each show, apply one or two pieces of cellophane tape (as suggested above) to the sides of the box to hold it together so that it may be refolded into its box shape. When you come to the end of your presentation, instead of tearing up the box, simply undo the side tape tabs and open the box out flat, showing both sides to the audience. This same box may be used over and over again in this way. -29- If you use the box as suggested above, you may add a final touch to the effect by printing some comment or message (such as "No Soap" or "Washed Up") on the plain inside portion of the opened out box. Many magicians sprinkle some real soap flakes in the top of the box so that when the box is opened at the beginning of the presentation, these flakes accidentally(?) (or intentionally) are spilled onto the floor to create the impression of a real box filled with soap flakes, At the end, when the box is shown empty, not only have the stained handkerchiefs disappeared, but the flakes are gone as well. We have mentioned that the "Soft Soap" vanish may be used in conjunction with “Twentieth Century = Silks" and/or "Blendo," and we know that you will be able to use it for many additional vanishes of silks or handkerchiefs in connection with similar effects (such as the “Perfection Flag" or any of the numerous variations on these standard classics). You may also glue the front of another type of soap box to the front of the supplied soap powder box - forming a flap, as in the old-style changing playing card. Then, with a downward sweep of your hand you may change the brand of soap in order to complete the cleaning job. Some mi is seem to feel that the very obvious turning over of the soap powder box is not to be desired, so they glue a second box front on the backside, upside-down, so that when the turnover is completed the box still appears to be right-side up. There are any number of short quips that may be used in your patter during the presentation. Some that we have heard used and have used ourselves are listed here for your reference: "| don't need any water! 1 dry clean the hanks."-30- "If these hanks aren't washed up completely - then I'll be! "This is the only way that 1 can clean ‘up in magic! "| always like to keep my tricks clean ~so here's one with soap." "This takes a lot out of me. | always work myself into a lather when | do this trick." "| always use soft soap ~ that’s why I'm such a slick magician." (Or, "That's why my patter is so smooth. THE NEW TOPS “Even the magician comes clean in this effect!" "| guarantee that the spots will vanish ~ or else | will!" “This trick is sometimes a washout — but I hope that this time it hits the spot!" "This soft soap is guaranteed to remove any kind of spot ... except a bald spot!" "These spots will have to disappear ... Lux (luck is) against them!" xe kek kz kk we kK wk by Paul Osborne ILLUSIONS oS Ze In the old days we used to patch hoies, scratches and gouges in illusions with Plastic Wood. No more. We use Bondo which is commercially used in smoothing out dented cars. It mixes quickly and easily, can be finley sanded and will be stronger than the wood itself. Stop by your hardware store or body shop and pick some I. “\ x y 3 You'll be impressed at its versatility. pe-WiEO Heats P.O. Box 36155 Dallas, TX 75235 The Abbott Magic Company now carries, in stock, all Paul Osborne. Ilusion Building Plans and all four Illusion Systems books, also by Paul Osborne. Refer to Catalog #24 for additional details on these items.AUGUST 1993 (Continued from page 12.) The setup, before the performance, was really simple. The bottle rested on the table. The gimmick was placed under the towel (the one that always seems to accompany a bottle of bubbly), which was also on the table. At the proper time, | picked up the bottle, turned my back and pretended to be struggling with the cork. In the process, 1 picked up the towel and the gimmick. 1 made sure the shell popper was uppermost. At the cue, with my back still towards the audience, | pulled the string, The “pop" was heard as the supposed cork went sailing through the air! As an added bit, all dialogue was halted in mid-speech as all watched the arc of the flying "cork." When the "cork" finished its flight, all dialoque was continued just as though nothing had happened. The cleanup was very simple. 1 just kept the gimmick under the towel and everything, including the bottle, were placed back onto the table. The resetting for the next performance was simple and quick. Since the popper remaining in the tube was the one just fired (and, therefore, empty), all that had to be done was to turn the tube end for end and insert another "live" from which the confetti and disks had been removed. Ready to go! The little "Party Popper" is certainly being used more and more in magic and in stagecraft. THE GYPSY RETURNS. by Kenny Woodward, As | have said before, “The Gypsy Thread" has long been a favorite of mine. I've used it in close-up and walkaround. And now, after making a discovery in the Craft Department of a local Ames store, | have been able to add it to my standup act. -31- The item “discovered" has the trade name of "Purr-fect Punch." It is an acrylic yarn and comes on a spool about one and one half inches in diameter and two and one half inches in length. The spool contains 225 yards and the color | use is "School Bus Yetlow." The yarn proper has a diameter that appears to be more than double that of the thread most commonly used. That size, coupled with the bright yellow color, gives great visib Another property ... and a very important one ... of the material is that it tears very easily. (The product tears easily because it is made up of fibers spun together. Threads "spun" are much easier to tear than those formed as a monofilament.) 1 don't want to get redundant and explain the routine and the preparation for same. It is in some books. Eugene Burger has a very nice explanation of the effect and preparation in one of his tapes. If you same your NEW TOPS magazines, check March of 1991 for my preparation for a walkaround item. Everything else is standard, except that | prepare the “bug" so that the restoration is from the center of the strand instead of at the end. I made a “flat spool" to hold the acrylic yarn. It is an exaggerated form of that which usually holds embroidery thread. It is five inches long and three and one quarter inches wide and is trimmed to resemble the above mentioned thread holder as shown in the accompanying drawings. holder is cut from poster board. in fact, two pieces glued together. However, if two pieces are simply glued together the finished item will have a tendency to bend. To overcome this fault, the two pieces of poster board are cut “on the bias" as follows: Using a straight edge as a guide, draw a line from the diagonally opposite corners of a sheet of poster board and then cut along this line. You will have two triangles. Only one will be used.-32- THE NEW TOPS 3° 3" Gy PSY" YARN HOLDER, /%e-4 OVERALL SIZE- 3x 5” a? Aue edge oF A 256 Piece. with HELP The long edge (the former diagonal line) will now be the base of the triangle. Draw a perpendicular line from the base to a height of five inches. From the point where the perpendicular line touches the base, measure to a point three and ‘one half inches to the right. From this point, draw another five inch perpendicular line. Connect the ends of these two lines and cut out this oblong form. You will need two of these pieces. Place the two forms on a flat surface. Take the lower left corner of each (one with each hand, of course) and lift them up but allowing the opposite corners to remain on the surface. By slightly bending the forms in this position a resistance will be felt, The resistance will either be equal in each of there be a slight difference. If the resistance is the same in both, turn one of them over and try again. There will Make THe ARCS | Y)e be a difference and that is what is needed. Once the difference is obvious, glue these two opposites together. Rubber cement will be fine. Be sure that all edges are aligned. If everything is right, the finished product will offer resistance to bending in either direction. (May 1 digress here for a touch of magic history. In the 1950s, Ed Mellon and I had a booth at one of the conventions. Ed was a leading purveyor of things mental. While there, Bob Fillman demonstrated a startling mental effect for us. It was the first time either Ed or I had ever seen the “bias principle" used in magic. Arrangements were made for the rights to the effect and we released it as "The Fillman Miracle Principle." We first advertised it in Volume One, Number Ten of our publication, "Mental-Wise." It was.AUGUST 1993 probably some time in 1954, We didn't start dating the issues until October 1955 with Volume Two, Number Three. Later, the effect was released by other dealers as "Tel-A-Color." Just thought you might like to know what went on in other years.) Now, back to the "Gypsy." Almost finished. In fact, all that is left to do is to cut out the design as shown in the drawing and wrap many turns of yarn around it. In use, I use a length of yarn about six feet long. (Arms spread, fingertip to fingertip.) That means, allowing for the forming of the "bug," about twelve feet per performance. As I said at the beginning, ali preparation is standard, If you don't know it, you should be able to find it. If not, drop me a tine, -33- AN ADDED THOUGHT: Bev Bergeron, in his tape, uses wool yarn. He cautions to use only wool. (That fiber thing again.) Of course, the thickness of the wool makes the effect highly visible. If you live in a small town, as 1 do, wool yarn is sometimes hard to come by. As a solution, may | suggest one of the strands of the core of soft (magician's) rope. It is cotton and the fibers are "spun." In case you can't find the product | am writing about, and are interested in the effect, here's the manufacturer's informati Plaid Enterprises, P.O. Box 7600, Norcross, GA. 30091. Stock #62036, School Bus Yellow. Kenny Woodward, Jr. 220 Center Avenue Uniontown, PA. 15401-2451 COCR ERREEREREREREY!) Unweaver’s Tale by Phil Goldstein The spectator cuts a pack of cards, and uses the first two cards at the cut-point to create a hypothetical card. For example, the first card mjght have a value of Nine, and the second card might be of the Spade suit; thus, the designated card would we the Nine of Spades. A random quantity of cards is now cut off the pack, and through a straightforward process this packet is narrowed down to a single card - which Proves to be the very one designated at the outset. This can be seen as a non-spelling version of Stewart James' classic “Spell Of Mystery." A 36-card stack is used, consisting of a nine-value rosary with the four suits in rotation. As an example, you could use the first nine values of the standard Si Stebbins arrangement, and a CHaSeD rotation: Ace of Clubs, Four of Hearts, Seven of Spades, Ten of Diamonds, King of Clubs, Three of Hearts, Six of Spades, Nine of Diamonds, Queen of Clubs, Ace of Hearts, Four of Spades, Seven of Diamonds, Ten of Clubs, King of Hearts,-34- Three of Spades, Six of Diamonds, Nine of Clubs, Queen of Hearts, Ace of Spades, Four of Diamonds, Seven of Clubs, Ten of Hearts, King of Spades, Three of Diamonds, Six of Clubs, Nine of Hearts, Queen of Spades, Ace of Diamonds, Four of Clubs, Seven of Hearts, Ten of Spades, King of Diamonds, Three of Clubs, Six of Hearts, Nine of Spades, Queen of Diamonds The remaining, unused sixteen cards, in random order, are divided, with eight placed on top of the stack, and eight on the bottom. Begin with a false shuffle, if you like. Table the pack in front of the spectator, asking that the pack be given a complete cut. This cut must be at least eight cards deep, and not more than thirty four cards deep; it is highly unlikely that the spectator will cut outside this range. The new top card of the pack is turned up, and its value noted. The next card's suit is combined with that, to form a hypothetical card. Those two cards are placed aside. The spectator is directed to cut off a random amount of cards from the remaining stock. As long as the cut- off quantity is more than seven there will be no problem. Point out that the spectator has cut off a random quantity with which you will work. Explain that you will narrow down to the center of the cut-off stock by eliminating every other card, three times. Do a Reverse Faro (i.e., run through the packet, outjogging the first card, injogging the second, outjogging the third, and so on until all the cards have been used). Strip out the outjogged cards, discarding them on the talon, Do another Reverse Faro. As before, strip out the outjogged stock and eliminate it. Do a Reverse Faro, and THE NEW TOPS again strip out the outjogged stock and eliminate it. At this point, depending on how many cards were in the cut-off group, you will be holding from one to four cards. If only one remains, turn it over; it will be the designated one. If more than one card remains, remind the audience, “I promised to narrow down to the center by executing the elimination procedure three times, and in so doing we've arrived at this card." Turn over the top card of the packet, which will be the designated one. The work can be simplified if you find a reason to justify using only the 36- card stack, For example, you might use the four Aces and twelve court cards for an Ace assembly. At the finish of that trick, put those sixteen cards aside. The 36-card balance of the pack is, of course, arranged in a nine-value rotation as explained above. With this situation there is no need to worry about how many cards are cut off in the beginning. Instead, simply have the spectator give the 36-card deck as many complete cuts as desired. This done, the top two are used to determine a hypothetical card. A quantity is cut off from the remainder, and the routine follows as described earlier. Instead of using playing cards, a set of cards bearing designs can be employed. These would consist of four sequences of nine designs (values), drawn with four colors (suits) in rotation. EDHARRIS 5901 OREWAVE 5. ‘MINNEAPOLIS. ‘3500 Pus 5 stamps, PLEASE.