-Y , f

by Alan Shaxon
Routined Magic for-
O The Cabaret Artist
O The Mentalist
O The Children's Entertainer

A GOODLIFFEPUBLICATION
 PRACTICAL
SORCERY
by
ALAN SHAXON

Illustratedby
ALAN SHAXON
DENNIS

A
DEDICATION
GOODLIFFE
To my faithful assistantand dear wife
PUBLICATION
ANNE
1976
and our apprentices and chief critics
JULIA and PAULA
 CO NTENTS

FOREWORD
by Michael Bailey,
Hon. Vice-President
of The Magic Circle
::
INTRODUCTION FOREWORD
Make it Magical
ff-l HOSEwho read Alan Shaxon'sfirst book My Kind of Magic
Chapter 1 (anA who didn't?) have been eagerly hoping he woul<t
I
GETTING STARTED Page r' write a second. They all had good reason,for Alan has
20th CenturyCane and Silks 2 the knuckof creatingsomeof the mostentertainingand practical
Tearing Up the News 4 mngieoroundtoday. His effectsdo not requirea lot of complex
The Nudist Brainwave Deck bullding, they are routined to perfectionand only that vital
Ingredient- good presentation - needsto be addedto ensure
Chapter 2
irenl success with audiences.
CARD MAGIC
ProfessionalCardsto Pocket l0 Alan is one of the busiestcabaretactsin a highlycompetitive
The InvisibleCard and Envelopes t2
fleld, One of the reasonsfor his success can be found by reading
A Perfect Jumbo Card Chanse 15
t't'rcliuil for
Sorc:ery, it is direct, strong mysterieslike those to
My Favourite Card Trick t6
he revenlcdwhich havehelpedhim to the top.
Chapter 3
MAINLY MENTAL Tlte routinesin this book are for the practisingmagician,
Television Mindreading 20 who lr lookingfor audience-testedmagicsuitablefor presentation
The JubileeMedallion 2l i.e. stage,club or cabaretfloor.
underirll conditions,
Twistecl Psychometry ZJ

The Great Directory Test 26 Wc irll hope to find one trick we can use when we dig into
a mngicbook. It is rare to find a book so full of goodideasthat
Chapter 4 dn lB temptedto use them all. But that in my opinionapplies
A MIXTURE OF MAGIC f n f hir vtrfume of PracticalSorcery.
Sucker Serviettes 30
Smokinga Tin ... JZ You nre about to delve into a goldmine of valuableeffects
Balloon ro Rabbit 34 rhlch I know will enhanceyour act.
Chapter 5 MICHAEL BAILEY,
FINISHING STRONGLY
Final Epic J6 The Magic Circle.
Hon. Vice-President,
Climax Newspaper Test 40
Cabaret Rabbit Vanish 43
Chapter 6
CHILDREN'S HOUR
The Magical TelevisionSet 49
ii
 MAKE IT MAGTCAL

URING the fiveyearssincethe publicationof my flrst book

My Kind ol Magic, there have been great stepsforwartl
in the performanceand writings related to close-upand
card magic, and experts in these fields have reachedvery high
standards. On the other hand, the stand-upperformerassociated
with clubs and cabaretaudiencesdoesnot seemto have been so
well served,and indeed very few among the newcomersto our
ranks have found any successin this field.

More and more we see the accent upon so-calledcomecly

magic, usually being very lightweightin its mysteryelement. It
has alwaysbeen my belief that really good, baffling effectscan
be entertaining,indeedfunny, in the hands of good performers.
I would like to seegreateruse madeof situationcomedy,which CHAPTI,R I
is so suitablefor magic,rather than listento a stringof one-line
gags that bear little relation to the effects being performed.
Tommy Cooper and Latry Parker have hilarious comedy acts,
and of courseI am not referring to these,but rather the many
magic club memberswho insist on trying to be comediansbefore
they have becomemagicians. It is a hard line at which to GettingStarted
succeed.

Robert Harbin has alwaysbeen my idea of the ideal modern

entertainingmagician. He entertainsall ageswith original an<l
baffling magic,having taken many of the great tricks and worked
on them to suit the often diabolicalconditionsin which we are
called upon today to perform.

We cannot all have the inventive genius of a Harbin, alas,

but we can do our best to ensurethat the magic we do will fool
a modern sophisticatedaudience. With that in mind, the effects
in this volume were put togetherfor my personalrepertoire,and
have thereforebeenwell tried and tested. It is hoped that the
reader will find effects that interest him and that he will then !
add his personalityand humour, thosemagicalingredientsthat
will make his act entertainingto an audience.
iI
iv I
I
I
_L_
 TUOI< /N
2 0 th CE N TU R YC A N E A N D S I L K S INNTCH/NG
coEaA/3,2 KNOT

T has alway s b e e n m y b e l i e f th a t a fa s t movi ng and vi sual SEWON

, WTTED TiNE
r out ine per fo rm e d s i l e n tl y p ro v i d e s th e ideal openi ng to a
I
I cabaret act. Performecl slickly it establishesone as tr
magician clur-ingthose vital moments when the audience are
se t t ling t hem s el v e si n to p o s i ti o n . In th e se days of strong
N{u s ic iansUnion
' s i t a l s o m e a n s th a t o n e c a n usual l y make use
o f t he f ull bac k i n g o f th e b a n d , i f k e p t to around 2 mi nutes,
b e f or e t hey v anis l r to th e b a r to e n j o y th e i r b reak.
Bffect
Magician enters twirling a dress cane, holds it out between
his hands and plucks a silk handkerchief from the knob of thc
cane, and a second apparently from the ferrule. The two silks
are knotted together and then wrapped around the centre of the
cane, which is then rolled into a sheet of newspaper. With this
roll in one hand. the other removes a rainbow silk from his
pocket and in a flash the rainbow silk is transformed into the
cane, the paper unrolls to allow the silks to drop, the cane has
gone. Flicking out the silks, the rainbow is seentied between the
other two in true 20th Century fashion. A neat series of
surprises.
Required
20th Century Silks: Two solid coloured silks, one preparecl
as in Fig. l. Two duplicate rainbow silks, Fig 2, having corners
matching the prepared silk. Tie a matching corner of the rainbow
to the prepared silk, Fig 3, push silk and knot inside the 'bag'.
The two silks appear as one.
A standard appearing cane with the duplicate rainbow silk
attached is in your left inside jacket pocket. The two silks for
the 20th century effect are joined by a length of black thread
tieC to one corner of each silk. The length of tlre thread must
b e f ound by ex p e ri me n t. Wi th a v a n i s h i n g cane and pi ece of
n e w s paperhandy y o u a re s e t to g o . F o l d th e si l ks i nto smal l
bundles,place one insiclea tuck of the sleeveon each arm, inside
the elbows, the thread hanging acrossthe body (Fig. 4.).
Working
Enter twirling the cane in the right hand, with the left
thumb engaged under the thread loop. Stand with the cane
between the hands, stroke the end of cane with the right hand,
2
SoLtDCALOU?
stLt< I
IZAI NBO W
,,5I slLK-
FgZ
S/LK5
H/DPEN
IN rOLDS
I
,t4 *botto'r,ro ro
RAINNWCO,ZNEP.
Fg3
and by engagingthe right thumb under the loop of thread and
cxtendinghand to the knob of cane,the silk will leave its hiding
place and appear at the right fingertips, apparently from the
knob of the cane.
Repeatthis productionwith your left hand at ferrule end
of the cane to make the secondsilk appearand in displayingthis
snap the thread. Tuck the cane under your left arm, knot the
silkstogether(Fig.3) and roll them looselyaroundthe centreof
the cane.Wrap the canein the sheetof newspaperin preparation
for the standardvanishof a canein newspaper.Allow the cane
to collapseinto your right hand as usual. The silks will not
prove a hindrancein this nanoeuvre. Ditch the cane and knob
irr jacket pocket as you remove the rainbow silk. With paper
roll in left hand and appearingcane-to-silkready to go in the
light, simultaneously let paper unroll and silk changeto cane.
As the silks fall, catch them on the end of the cane, and flick
thcm out to show a chain of three, always a fine applausecue'
Practice alone brings smoothnessto this type of routine,
wlrich must flow. In my caseI have a Topit vanisherunder the
jacketon the left sideto take the caneas my handgoesto inside
jrrcket pocket for the cane-to-silk. Such adjustmentsmust be
to make the routine fit the individualperformer.
rrrirclc
 TE A R IN GU P TH E N E WS

A
PRACTICAL and professionallytested merhod and
routine for this classiceffect. Preparedin a moment,
the tearingis cut down to three simpletears,no folded
packets to be concealedand the flash restorationis immediate.
Effect
A newspaper
is shownfreely,torn into piecesand in a flash
is restored.
Required
Two duplicatenewspapers, preferablytabloid sizefor easier
handling. Only the two outer sheetsof each paper are used,the
rest discarded. Tube of "Copydex" or similar glue.
*
Take outer two sheetsand numberpages1 to 8 for easein
following directions. Open at pages2 and 3 and apply glue, as
in Fig. 1, to page3. Closepaperso that page2 sticksto glue,
and fold back page 2 (FiS. 2). Apply glue as shown in Fig. 3.
From your discardedsheetstear two pieces,one half-pagesize,
:t
one quarterpagesize,leavingrough edges,and stick thesetwo :
pieceson to glue as in Fig. 4. Finally place the duplicatepaper :DUPLIAI E
i
inside the other copy, as in Fig. 5, and fold down the top
cornersof the duplicateas shown,just one thicknessat top left, i
but turn down threecornersat top right.
I
Tl/orking
:
Holding paper in right hand, show back and front, and ;.t-TEAE
rc CK E T
turning left shouldertowardsthe audience,open at first page, :FoFF
face front and opennext sheet(preparedduplicatewill be facing :
you now), skip over cluplicateanclopen back pageas you swing
round with right shoulderto the audience.
Openpaperas in Fig. 6 and tear off two sheetson the right.
Placethe piecesin front. Turn all anti-clockwise to Fig. 7, fold
in half to creasepaperand open out again,but open out only
the outer paper,leavingfoldedduplicateon the left, as in Fig. 8.
Tear off the four pieceson the right and placethesein the front.
Turn anti-clockwise againto positionin Fig. 9, with the pocket
piecefacing you. You can show paperboth sides,torn edgesof
paper disguisingfolded package. Fold paper in half again to
creaseit, open outer paper again,leavinglolded dupltcateon tlrc
right side (Fig. 10). Tear off the eight pieceson tlre left and
4
place in front. The odd piece 'X' stuck on to duplicate will now T HE NU D ISTBR AIN WAVED EEK
be on top, and all can be freely shown both sides,to look like a
pile of bits, this odd piece masking the packet.
HIS novel version of one of magic's most direct effects,has
the virtue of being more visual than the original. It
Place all into left hancl and from the top it should be as in
makes an excellent ooener for anv act slanted towards
Fig. 11. On top are the loose pieces, under them the folded mentalism.
duplicate. The thick folds of duplicate are at the end nearest
your body on the left side; the folded corners will be under pieces Effect
at the far right corner. The right hand holds the right edge, as The performer displays a card case at his fingertips and
l e ft f or ef ir t ger m a k e s a b re a k a t' Y ' i n F i g . 11, betw een the explains that the pack contains one odd card, a stranger card,
pieces and duplicate, as left hand takes over the hold on paper.
iust one card of the 52. "Sir, if I asked you to name that odd
Now right fingers go into the break at 'Y', run around in the card, the odds against you would be 51- 1, so let us r educe t he
tlirection of arrow'Z'. Here the right hand takes over the hold odds in your favour, we will say evens is it red or
on paper, actually holding piecesbetween thumb and forefinger, black?" Assuming that red is named the performer addressesa
and lolded down corners only of duplicate between forefinger and second member of the audience: "So far we have chosen red, so
other fingers. keeping the odds reasonable, madam will you choose either
hearts or diamonds please." Assuming diamoncls is called, he
The left hand drops away and the right hand immecliately addressesa third person: "Sir, we are going to give you the
moves smartly out and forward towards the audience. This difficult odds of 12-l . .. . . . just name any diamond in the pack
causesthe duplicate to flash open and left hand comes up and please the sevenof diamonds,thank you." The performer
takes loosesheeton left, Fig. 12. This action opensautomatically removes the pack from the case and spreadsit backs towards the
the big pocket and right hand lets go of pieces,which fall down audience,one card is face out. the sevenof diamonds. This card
into pocket. Rigirt thumb goes under the top sheet in right is removed ancl placed on view in his outer breast pocket, as he
hand and passesit to left, then leaf through rest of paper to show fans the pack faces to the audience. . . . . the faces of the rest
it. Fold it in half from top to bottom and throw aside. Pieces are all blank!
will be securelylocked in the pocket.
Required
The special pack consists of 26 black cards taken from a
*
straight pack, and 26 red cards from a blank-backed pack.
Rough the faces of all the cards with roughing fluid and when dry
Patter assembl ethe pack in pair s, f ace t o f ace. AO / KQ , 2C/ Q Q ,
3O/JO etc., ther i AV/ K&, 2V/ Q & and so on down t o
"Magicians have a reputation for being a destructive lot. K V /A * . W hen spr ead backs up t he t op car ds of each pair r un
When they are not sawing up someone's wife, they may be Ace to King of Clubs, Ace to King of Spades. When spreacl
burning someone else'sbanknotes, or even tearing up the day's blank faces up they run Ace to King of Diamonds, Ace to King
newspaper. It js all the fault of you audiences . you clap of Hearts. Mark with ink dots the corners of Aces and sevens
like mad when the wife is sawn in half . . as long as she to speed up counting later. When complete the pack can be
is not yours . you laugh like mad when the money goes up spread to appear as a pack with backs but no faces.
in smoke . as long as it does not come from your wallet
. and as for newspapersit does not matter anyway, for if Working
th e magic ian k now s h i s j o b , i t a l w a y s fi n i s h e sup al l ri ght i n the There are two ways of handling the pack and indeed the
e n d !" cffect, accorclingto whether the chosen carcl is red or black.
t)
(a) Red Cards
Spreadthe pack backsto audienceand in spreadingseparate
the selectedcard, which showsto audienceas the one face up
card. Remove this and place on view in outer breast pocket,
cutting the pack at the point of its removal,so that the odd black
card of the pair is brought to the top of the pack. Spreadthe
pack backsout to show it was the only reversedcard, then fan
facesout to show the rest of the pack is completelyblank.

(b) Black Cards

Spreadthe pack backs towardsthe audienceas before, turn
over and spread again with faces to the audience,separating
chosencard as before,which showsas the only card with a face.
This card can then be shownface and back.
The presentationis detailed in the effect, and involves
audienceparticipationwithout anyonehaving to leave their seat.

CHAPTER2

Card Magic

i'.i;;

'
ir::_.
 PROFESSIONAL
CARDSTO POCKET
CLASSIC elTect, the twelve cards to pocket has always
been a test piece for budding magicians. Today's
audiencesare attuned to quick-fire routines ancl here we
pack a lot of action into a short time. Credit for the climax is
due to Cecil Keech,whosemarketedeffect .,Transita',insoirecl
the handlingthat follows.
Effect
Five cardsare countedfrom the pack and passup the sleeve
into an empty trouserpocket. The magicianexplainsthat the
cards go up the sleeve by shrinking them, whereupon they
diminish to half size, then qlrarter size and finally an eighth,
beforebecomingcompletelyinvisible. They appearin the empty
pocket,but are now all Jumbosize!
Required
Your trousersmust be equippedwith a fake pocket. If you
studyyour right trouserpocket,it shouldhaveon the outsidetwo
piecesof materialstitchedtogether. This join is unstitchedand
another pocket sewn in that spacealongsicie the existingone.
The obviousthing is to havethis fitted when the suit is madeby
the tailor. I alwayshave them both sidesfor the convenience of
keepingvariouspropsseparate.The outer pocketcan be pulled
out, showingthe pocketempty,while at the sametime the inner
one can concealthe cards.
In addition you need a diminishingcard set as shown, five
Jumbo cards and of coursea pack of cards. One card, say the
Jack of Diamonds,is held in a clip under the left side of the
jacket near the armpit.
Working
Prepareby having the five Jumbosin the inner of the double
trouser pocket on the right side, along with two cards from the
pack. With the pack in the left trouserpocket,the Jack in the
clip under the jacket as mentionedand the diminishingset in
the left jacket pocket,you are set to go.
"Peopie often say, you magiciansare very clever characters,
br-rtyou do annoy us becauseyou never explain how the tricks
are done. So tonight I will showyou a simplecard trick and, if I
get enoughapplause, I will explainhow the wholetrick works!"
10
PEAP VlEW
'/' t\
*q* @
@@
ro@
THIZEAD
Diminishins Card Set
Take the pack from your left trouser pocket and continue:
"For this you need a pack of cards, and the easiestpart of
the trick, an empty trouser pocket."
Here you pull out and replaceyour spare pocket.
"We do not need the rvhole pack, just five cards, one, two,
three, four and five."
On the count of flve, the cards are squaredagainst the pack,
leaving the fifth card on the pack, so that you have just four.
Drop the rest of the pack into the left jacket pocket, so that it is
against the full size card of the diminishing set. Flick the cards,
passing one, remove one of the cards from your trouser pocket
ancl count the four remaining. The card is placed on view in
your outer breast pocket. Apparently pass another, and
take the other card from your pocket; buckle count the four
remaining cards as three. In squaring these keep a little flnger
break under the top three cards. Stating that you will pass two
together, palm off the top three into your pocket, bringing out
only one. Pull out.the fake pocket, the fourth card apparently
is lost
"Probably the Jack of Diamonds up to his tricks again."
Produce the Jack from the clip under your jacket. Finally
take the last card in your right hand between thumb and fingers
at the ends, apparently place in left palm, but actually palm it in
the right and produce it from the pocket.
Alternatively vanish the last card at right fingertips with
back and front palm and reproduce it from your pocket. It
clependson the conditions under which you are working.
11
 "That makescard numberfivel" Displaythe five cardsand
bow to the applause.
"I promisedto show you how it is done,so watch." Here
you removethe pack with the diminishingsetat the rear. Spread
the cards,and leaveonly diminishingset as pack is removedand
discarded in right jacket pocket,with the comment"That should
be enough,otherwiseit takestoo long!" Explain that the cards
shrink. Fold card in half and fan out the five half sizecards.
Squeezeand fan again, but hold low behind your fingersso that
only half the fan shows. Squeezeagain, this time palm ofi the
main set leavingonly the smallestcardsin your left fingers,ancl
discardthe othersasyour hand removesa cardfrom the pocketed
pack to comparethe size.
Finally usethe French Drop to vanishsmallestcards,produce
the Jumbosfrom your pocket,and displayin a fan for the climax.
As theseare removedof coursethe palmedsmallerset is left in
the nocket.
T H E IN V IS IB L EC A R D A N D ENVELOPES
TRIED ancltestedcomedyroutinewith the invisiblepack,
alwaysa winner, and ideal to follow the previouscards
to pocket.
Effect
Magician states that the previous trick requires careful
practice,otherwiseyou can overdoit and all the cardsbecome
invisible,and he showssuch a pack! After apparentlyshuffling
the invisible pack, it is thrown to a member of the audienceto
mix, fan out and have a card chosenby his neighbour. The
magician tossesover an invisible envelopeand has the 'card'
sealedinside,the personnamingit at this stage. Now advancing
on the spectatorwith a real, but empty letter envelope,the
performer has him place his inside and all is sealed' After a
pausethe envelofe is opened,inside is a secondreal one ancl it
containsa card, the very one named.
Required
The initial preparationis rather tedious,but once done it is
the work of a momentto resetafter eachshowing.
l?.
*
You need s'evenfake letter envelopesas illustrated. From
sevenmore the addresssidesare cut as shownand insertedin the
sevenunpreparedones,to give a hiddenpocket. Make thesefrom
top quality envelopes. In England 'Churlston Deckle', No. 6
sizein wedgewoodblue, are perfect,and theseare lined with dark
blue tissue. Their thick quality hides the bulk that will be
concealed in the fake pocket.
ENVELOPE
fu\ QoTm-)
nW FUE,I
33 {sa,S 2/ (az^n)
Eitt/EtopEs
"
^klAU
[;;i"P"""'-l
DIVIDEPMEA'UP6
lt'x27i (zsx6rnn)
Next you need lourteen small manilla envelopes,end opening.
Into each of these is slid a piece of thin springy card, which acts
as a divider. Into these envelopesyou place a full pack of cards,
lour to each envelope, Aces in one, twos in the next etc., and the
Joker having one to himself. The cards are placed Diamonds,
Hearts, the divider, then Clubs and Spades.
Load the small envelopesinto your large ones, Aces and
twos in{o the fake pocket of the first, then threes and fours and
so on. The Joker goesinto the last one with the Kings. Seal the
flaps together lightly, cut a slip off the corner of the outer flaps
with scissors to ease opening the secret compartment later.
I ..i
 Finally numberthe envelopes 2,4,6, 8, 10, 12 and 14, the Aces
and twos being in No. 2, threesand fours in No. 4, etc.
Placethe envelopesinto the pocketsof your suit as follows:
Inside jacket pocket on left side Nos. 2 and 4, left hip pocket
6 and 8, right hip pocket 10 and 12, and No. 14 in the right inside
jacketpocket,
lVorking
Presentthe effectwith all the gagsyou can muster,throwing
out the invisible pack and having it shuffled. "What are you
doing? You haven'ttakenthem out of the box yet!" Havethem
fannedout for the selectionof a card. "Pleasehold it high in the
air, so that the rest of the audiencemay sharein this experience!
fn casethey cannot seeit, pleasecall out the name of the card!
The Sevenof Diamonds? What an imagination!"
Now tossout an invisibleenvelopeand have the card sealed
within. During this bit of businessyou havetime for your mental
exercise,which is very simple. If an even number is called it
will be in the envelopeof that number,if odd as in our illustrated
examplethe Sevenof Diamonds,just addone and it is in envelope
No. 8, and you can quickly work out that this is the innermost
one of the two in your left hip pocket. Slip this envelopeout as
you approachthe personwith the card (?), open it out and show
them that it is empty,beforethey slide in their invisibleenvelope.
On your way back sealthe envelopesecurely.
"I had a terrible night last night, I could not sleep. I had
this ridiculousdream that I was doing card tricks, and when you
are a magician,then that meansyou have reachedthe time to
worry. I was doing this trick with a pack of cards that did
not exist . then the post came and there, along with the
bills, was this envelope. , , I openedit up and insidewas a
smaller envelope just like the one you had, and it
containeda playingcard,just one card . you won't believe
this,but it just happensto be your card,the Sevenof Diamonds!"
This is very strong stuff and really shakesany audience.
During the patter aboveyou have openedthe outer flap to
gain accessto the secretpocket,removedthe appropriatesmaller
envelope(odd one is first, the even next remember)and now all
you have to do is cleanly remove the correct card of the four.
This is where the divider comesin so neatly. If you want a red
card, buckle the envelopedownwardswith the thumb, and the
divider will spring down againstthe envelope,trapping the two
t1
hlackcardsagainstthe side. You can thenput your forefingerin
und slideout the appropriatered one. To get at the black cards,
just buckle the envelopeupwardsto get the red cards out of the
way.
After performance,make anotherouter envelope,and reset,
I often use this as an encore to the regular act. No props, it's
funny and packsa wallopat the end.
A P E RF ECJU
T M BOC AR DC H AN GE
HERE is nothingvery newaboutchanginga Jumbocard by
meansof a window envelope,but in the belief that often
the little things can turn a trick into a miracle, the
following will be found useful. It can be used surroundedin
close-upand the illusionis mostamazing.
llffect
A Jumbo 8 of Diamondsfor exampleis shown both sides,
und a window envelopecan be examined. The card is slid into
the envelope,the back seenthrough the window. When slid out
with the window towardsthe audienceall looks fair. but the card
hnschanged,say,to a 5 of Clubs.
llequlred
Fig. 1 showsa Jumbo card (8 of Diamonds)with paper
rtrntchingthe insideof the envelopestuckon to its back. A strip
lq cut I'rom another card and attachedby meansof sellotape
over at the bottom and endsto form a pocket,as shown.
rlorrhlccl
X rrt thc top is a dab of Melrose. The envelopeis a manillaone
wltlr a windowcut into the addressside. The black line drawn
nround with a felt pen neatensthe job. The 5 of Clubsis slid
lltto thc pocket of the other card, lined up and held by the
Melroso.
ltorklng
I luve the card in the envelope,back to window, pocket end
ol' cut'rl(s)goingin first (Fig. 2). Show envelopeback and front,
llrerr lrrkingcard at X removeit and showit around. The design
urr pockctnratchesthe back of the card and is invisible.Hanclat
X holtlsnll square. In close-upyou can have them look at the
ettvelrtpcund then slide the card in. During this the back is
l5

seengoing down past the window and it then staysin view. To
eflect the change,the fingers of left hand hold closed end of
envelope,with a finger nail overlappingthe bottom edge of the
window as the right hand slidesout the card. The finger nail
stops any movement of the 8 of Diamonds, allowing the 5 of
Clubs to slide out. The envelopestill looks empty as before, yet
you have changedthe card.
M Y FA V OU R ITE
C A R DT RI CK
NE is thrown a pack of cards with the request "Show us a
trick!" It happens to all of us. This has been my
favourite routine for those occasions for some 25 vears.
having found the basic idea in an early book by Eric Lewis,
During those interveningyears my handling has changed. It is
describedin many versionsby others, but I hope some of you
may, like me, count it amongstyour top effects.
Effect
A pack is shuffled,one card chosenand placed face down
on the table. The magician endeavoursto find the three other
matchingcards and repeatedlycuts the cards,showsthe top one
and each time placesit besidethe chosencard. With the four
cards in line, it is obvious that somethingis amiss, the three
cardsdo not match! He turns them over and now they do match,
a startling climax. The pack is spread out and the cards the
audience apparently saw before, are missing and are founcl
sealedin the performer'swallet!
l6
I
Required
The wallet I always carry is faked for the card in wallet.
'l'ltcreare many differenttypesand the one illustratedwill stand
cxaminationif you can find one like it.
Working
With your own or borrowedpack,idly sort through it, culling
lhc following cards to the top. Any other matching cards will
rlo of course,e.g. Ace, Ace, 5, Ace, 5, Ace, 5. False shuffle as
nruch as possible,then force one of the top two Aces, by a fan
force or riffle force. Have this Ace put on the table.
False shuffle and cut, then double lift showing a 5, and
rcplaceon top, slidingthe top card besidethe Ace. Do a double
undercut to bring the top 5 to the bottom. Again double lift,
nhowinga 5 and slide off the Ace. Repeatthe double undercut
runda double lift and the third Ace joins the others. Acting is
vitnl, as you haveapparentlymadea messup. Doubleundercut
idly as you ask what is wrong. Finally have them turn over the
Accs and watch their faces,
As they turn over the cards, bottom palm the 5's in your
lcl't hand and reachfor your wallet. Load the cardsand tossthe
wlllct on the table.
What did they think the cardswere? Look throughthe pack
nrrdiossout the only 5, unzipthe wallet and showthe other three
Irrrrllleenthereall the time.
As the routine dependson three double lifts, ensurethat
v,rrrrhuncllingdiffersin someway cach time to avoidrepetition.
I7
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CHAPTER 3
fJ., r ,t\ r , r ..r l
t r c s c r l i r o n . t h t r m r g i n a r i \c r o u tr r c fl o \!,
{r oor h x\ i l (f i c f e t rn : ! ! l (r\ s \ !.nccr
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ffi* Mainly Mental

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 TELE V IS IO N
MIN D R E ADI NG
A
SELF-CONTAINED impromptu effect, using a novel
numberforce which can be usedfor manv routines.
Effect
Showingcopiesof the Radio Times and TV Times,preferably
borrowed,the performerhas one chosento be put asidefor usc
in the effect. From the remaining copy all the numberedpage
cornersare torn off en bloc, two freely chosenand the four
numbersadded. Using this total for the pageand columnin the
other periodical,the performercan divine the programme,cast
and other relevantdetails.
Required
Any magazinescan be used,but the make-upand ready
availability of the Radio and TV Times makes them ideal.
Newspapersare also quite suitable,but care must be taken to
ensurethat they consistonly of doublesheets,no singles.
Beforehandtake the Radio Tinres, look at the back page
number,doubleit ancladcl2. Thereforeif it has 60 pages,the
force numberis 122anclyou look up the detailsof programmes
in column2, on page12 of the TV Tintes.Repeatyour homework
with the force number from the TV Times.
Working
Explain that one magazineis to be freely chosenand put
asidefor uselater. Take the remainingone,openit in the centre
and tear out en bloc all the numberedcornersin the back half
and placethem down, back pagenumber at the bottom. Tear
out all the front half numbersand placethat pile besidethe other
one,page I on the bottom.
With both hands,simultaneously pick up piecesfrom both
piles,tossingthem asideuntil a call of 'Stop'. Give a choiceof
the piecesin your hanclsor the next two, then add the four
numberstogether. It rvill be the force number and you hand
them out for checking.
Now havethem turn to ths relevantpageand columnin thc
other magazineand go into a tranceor whateveris your style,as
you divineall the information. Gatherall the cornersup, mixing
them a bit, so that no cluesare left.
20
T HE JU BIL EEM ED AL L ION
T THE MagicCircleoneevening, PeteBiro, Ali Bongoand
myselfwere discussingAl Koran's Gold Medallion effect.
No-oneseemedto haveseenAl Dresentthe effect and two
differentversionshad beenpublishedin the two bookspurporting
to describehis methods. This version is almost too direct and
really shakesan audience. Bob Swadlingmade the propsfor me
and a great job he made of them. The effect has been used in
many of my cruiseprogrammes.
Uffect
Throughout the act the performer is seen to be wearing a
medallionon a chain around his neck, in the way that has
becomequite fashionablefor men today it seems. Taking a
small notepadand pen, the performer suddenlypoints at a lady
in the audience,asks for a number from one to ten and writes
this on the pad. Repeatingthis with two other ladies,a three
ligurc number is formed. Pad is placedin breastpocket with
rrtrnrbershowing.
The magicianthen describesa Conventionof Magiciansthat
Irc recently attended,wherealmost 1,000of the world'sforemost
rrragicianswere presentand each one was given a medallion.
lnviting a memberof the audienceup besidehim, he removes
llrc medal,describesit and explainsthat each registrantat this
('onventionwas given a number. He asksthe helperto look at
the back of the medal and on it he seesa number inscribedin
gold. It is the verynumberput togetherby the audience.
Required
The medal is required first, a chunky one for preference.
Mine is that given to registrantsat the Tannen Jubileein New
York in 1973,with hands,playing cards,etc., and which inspired
lhc presentation.Find a medallionand then devisea presentation
to lit. A mechanicmust drill out the medal as illustratedand a
disc is made to fit exactlyin the recess,this latter in
rrrugrrctic
nry casebeingof black plastic,roughenedwith wire wool to take
rrrrinrpression.The wholelooks and works like a magneticshell
)l
 coin in fact. The medal is worn around the neck on a chain,
one end of which is attachedto medal,the other end held to it
with a link madefrom soft solder.
The pad. This is made as shown by glueing a few visiting
cardstogether,with a sheetof notepaperpastedon. The recess
in the pad takesthe plasticdisc. Beneaththe top card is fixed a
pieceof carbon,i.e. behindthe window. Letrasetsell'Gilt Edge'.
It is not too readily availablein the shops,but the addressis
Letraset ConsumerProductsLtd., Wotton Road, Ashford, Kent
'TN23 2JU, England, and your local stationer can order it for
you. Have a goodball-pointpen handy.
@
Working
Take the pad and pen from your pockets,confront a lady
in the audienceand ask for a number from one to ten . . . 7 . . .
smile and write this on the top sheet.Ask another lady for a
number.. . 5. . . "Strange,youlook like a 3!" Don't comment,
22
but ask for a third number,say2, and look pleasecl.Displaypad
rundnumber,then allow disc to slip out of slot into finger ptrlm
of left hand. Put pad in outer breastpocket,with number on
view.
Reversethe disc in your hand and go straightfor the medal
rrroundyour neck, slippingthe disc into place as you pull the
chain apart. Displaythe medallionhangingat the end of the
chain.
Invite someone up to examine the medal, and as he
approachesrevolvethe disc in its recessso that the gold number
is the right way up. Describethe engravingson the medal and
the inscribedwording. Have him turn over the medal and tell
thc audiencethe number 'inscribedin gold' on the back. A
stunningeffect!
Many presentationsare possible,e.g. an athletic nedal
could contain detailsof an Olympic event,High Jump, height
()ft. 9ins.(3 metres)at the gamesin Surbiton,etc.
TWISTEDPSYCHOMETRY
II /HILST having a great liking for mental effects,thc
f} seriousmentalapproachis not my style,so I am always
on the look out for combinationsof magic and
rrrcntalism.The climax of any effectis what blin-esthe applause
irrrclthis effecthas a good punch at the end.
l,lffcct
Three membersof the audiencechoosecardswhile the pack
is in their hands,then freely shuffle theseback into the pack.
[)cspite these conditionsthe performer attempts to find the
choscncardsby touch alone,without looking at the cards. Hc
rrrnsthroughthem, removesthree and placesthem on a display
lroartl. The cards are named and thesenameswritten against
tlrrr face down cards of the oerformer. When the cards are
L-)
turned face up, they are all wrong! tseinga better magician
than a mindreader,he makesa passover the cards,turns them
over againand they are the correctones.
1Effi qsy
2a 11
kv
3EsirH
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1 t ffi 7,94
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3ER
Required
Trvo matching packs of cards, Pack No. I is prepared by
dividing it into three heaps,and each card is marked on tlre back
at top left and bottom right corners, in such a way that a glance
at the back will tell you that it belongsto heap 1,2 or 3. Make
tl.remarks very clear, otrviously incorporating them into the design
of the packs you are using, preferably removing a bit of the
designwith a razor blade. Then treat the faces of all cards with
roughing fluid. Assemblethe pack with heap 1 at the face, then
a Joker, heap 2 and the second Joker, then heap 3. This pack
is in a card case.
Pack No. 2 is prepared by discardingthe Jokers and treating
all the backs with roughing fluid. If necessaryyou may have to
polish the untreated surfaces of the cards in both packs. It
dependson the finish of your particular cards. This pack is in
th e l ower r v ais t c oa to r c u m m e rtru n do o c k e t o n t he l eft si de.
The Display Board
This is shown in Fig. 1, made up like a blotting pad, leather
corners, etc. An elastic band, a wide one, is around the pacl to
24
hold the cards. Fig. 2 shows paper stuck on to form a pocket
of the lowest section, the edges being hidden by the black lines
made with a felt marker pen. Numbers l, 2 and 3 are down
the left side.
Working
Remove Pack No. I fron, the card case and false shuffle,
run through them face up and toss aside the Jokers. In doing
this keep breaks with the fingers to separate the three heaps.
Hand the pack out to three members of the audience, one heap
to each. Each person shuffles their heap and chooses one card.
You now collect the rest of the cards from them and turn your
back, so that they may hold them up for the rest of the audience
to see. While your back is turned, drop Pack No. 1 in your: Ieft
jacket pocket and remove Pack No. 2 with your right hand.
Hand out Pack No. 2 for the return of the chosen cards, letting
cach person shuffle their own cards into the pack,
Now run through the cards, without really looking at them
and feel for roughenedpairs. A quick glance will tell you if you
have them correct, as the back of the rear one will be marked
and you can at the same time tell which heap it comes from.
Itemove that pair of cards and, without showing the card(s), slip
it under the band on display board against the appropriate
Irumber. Repeat with the other iwo, actually taking two cards
each time and putting them under the elastic.
Pointing out the impossibility of finding their czrrds,state
lhat at presentyou have no idea whether you are right or wrong.
Have the chosen cards named and write these narrresagainst the
I'accdown cards as in Fig. 4. Turn the cards face up and they are
irll wrong. Obviously each pair must be carefully handled as one
card.
Mentioning that you are a better magician than a mindreader
ctc., you meanwhile turn the board towards yourself and turn the
lhrce cards face down a,eainunder the elastic. However, during
this you separateeach pair as in Fig. 5, sliding the face card into
thc pocket at the bottom of the board as the others are placed
rrnclerthe band. Now turn the board to face the audience,flick
your fingers over the cards, turn them face up, and the tables
Irave been successfullyturned!
Paper facing of the pad must be renewed at each showing,
but armed with a large artist's pacl,scissorsand glue, it is only the
work of a few moments.
25
 THE GREATDIRECTORY
TEST is 3*-ins.(81 mm) long. Take a pieceof notepaperS*-ins.x 3-ins.
(138 x 75 mm), divide as illustratedand flll in the details of the
S A young boy I well recall that TeiephoneDirectory tests relevant directory eutries, abbreviatingwhere necessary. You
really impressed me. I asked my near neighbour Ernest need 15 entries in all for each directory, the top ones of each
E,. Noakes, a Vice-President of The Magic Circle, ancl a column on the five pagessuggested.Stick the cue sheetaround
leadinglight in the magicof his day, if he could provideme with the 'barrel' of the pen and fit each pen with a celluloid 'sleeve'.
a methodfor my show. Beforeme as I write are threefoolscap These 'sleeves'have some advertisingmatter rolled within the
pagesof his manuscript,detailingthe trick that was to feature celluloid,but a window 3-ins.x *-in. (75 x 12 mm) is left in the
in my act at the time. ft must have been a long act, for his 'sleeve',through which can be seen the three entries for one
methodmeanta tour of the auclience on three occasions,
anclit page. The three pensare placedin three pocketsof your suit, so
took 20 minutesto get a climax of one phonenumber! Times that on knowing the chosendirectory,you can immediatelytake
have changedand one is expectedto get throughan act in that out the correctpen.
time today.
Finally a blotter is needed,with plain paper replacing the
Othershave soughtthe perfectanswer. Ralph Delvin had hlotting paper for writing on.
a greatone. McCombhasgot up to all sortsof capersas detailcd
in his book, and both PeterWarlock and Arthur Carter had great
ideas. Much credit for this methodis due to the latter two great
thinkers in magic and I believewhat follows is an impressive MAIZKEPPEN
feat for performing anywhere.
,laL A.aatJ l*n^/A*
Effect * wtb
tateJtLt)'
Avhu-.2424/U,1,
2r*
"l7tr1
A number of large telephonedirectoriesare handedto a tut ?$*14 e 4?-214tu
tt+ t$?@Caa1J'F-k
spectator.Membersof the audiencewrite suggested pagenumbers Atlqrl4' g+atb 7.14htl
on a pad, which is then handed to the spectatorwith the VIl@ r'le.l 4*:JJvr
e. 144 ' A1*e-au-'b'
directories.He decideson a book, mentallychoosesone of the A tr(la4+r'r, 7r.?....7t11,
suggestednumbers,turns to that page and freely choosesa L{*4R l d.q1.6r#a/
a."dl-
column. As he readsthe top entry,the mentalistgivesthe name, dcttU-
1'*t- lrft12
- EaJ.

address,occupation,and finally turns a board on which he has w be4*.t bbz-{*t

beenwriting and tlrereis the exchangeand telephonenumber. aaz.r&l
oes
d-4-.1
@4J.
4d
4,41t$

Required
A numberof directories.I usethe London A to Z, Greater
London BusinessDirectory, and the West ThamesEdition, all
commencingat page 1 and havingupwardsof 700 pages. The Working
pad is the clever Add-a-No pad, (Publislrcr'snote: Any pad to
switch otrc set ol numbersfor another will do; that recommenderl Hand the directoriesto the spectatorand have him sign for
worksvery *-ell). Soldby dealers,the leatlrerversionby Supreme them by placinghis signatureon the top sheetof the Add-a-No
pad. Owners of this pad will understandthat he has in fact
is recommended. On the secondsheetyou jot downthe numbers
113,124,356,624 and 633in varioushanclwritings. signed the secondsheet! Pad is handed out and five various
peopleaskedto jot down three-figurenumbers, 100 to 700, for
One marker pen is requiredfor eachdirectory,the Varyline the choice of a page. Collect the pad, switch the top sheetfor
(112mm) in length. The 'barrel'
nrodelbeingideal,being4l--ins. your predetermined numbersand hand the pad to spectator.With
)^
tlte Suprememodel in a leather wallet, you have the fifth
personcloseit, so there is no chanceof you seeingthe written
numbers. Spectatormentally choosesone of the numbers,but
does not announceit, and turns to that page in one of the
directoriesbeforehim.
As he doesthis, you take up your writing tablet,reachinto
your pocket for the relevant marker pen and note where the
spectatoropenshis directory, i.e. front, centre or rear of book.
This tellsyou whetherit is page113or 124,if.in the centre356,
the back being 624 or 633. If he looks at a right-handpage it
must be 113or 633,left pages,I24, 356in the centre, or 624at the
back. Ask him for a choiceof columnsl, 2 or 3 and,ashe reads
you prepareto write on the tablet. Behind this you revolve the
sleeveon the pen until the relevantpagedetailsshowthrough the
window. Check the L or R againstpage number, to make sure
you have it right and read the details for the chosencolumn.
Start writing the telephonenumber on the tablet. Meanwhile
you state the name, address,etc., with as much showmanshipas
possible. CHAPTER 4
For the climax, havespectatorcall out the telephonenumber.
Turn your tablet for the applausecue.

A Mixture of Magrc

23
 powder'. It ditches the piecesthere, brings out the 'invisible
S U C K E RS E R V IE TTES powder' and sprinklesit over the ball in left hand. Blow on the
ball and open out to show restored.
LWAYS a good programmeitem for childrenor adults,
the sucker torn and restoredpaper,in squares,strips or In bowing to the applause,my right and left handsgo to my
whatever,hasbeendescribedin countlessroutines. What jacket pockets,straighteningthe pocket flaps and in the process
follows is logical, simple and the working is over almost before the right hand securesthe white ball. This may not suit you, in
the audienceis aware that you have started. It has been a which caseyou have this balled serviettein a holder under edge
regular in my programmesfor nearly 25 years. of coat, or whereverit is easyfor you to get at it naturally. The
audiencethink the trick is over, so one doesnot have to be too
Efrect clever about this, natural boldnessis the best solution.
A white servietteis torn and the piecesscrewedup into a
Repeatthe tearing and exchangethe piecesfor the duplicate
ball. Sprinkling invisible restoring powder over the ball, the
performeropensit to show the serviettefully restored. He offers as beforein passingthem to the left hand, as the right hand goes
to jacket pocket and comes out with the red ball, ditching the
to explain the secret and tears the serviette again. A secret
piecesat the same time. Show the red ball and put in pocket
duplicateis kept in a pocket and to demonstrateit clearly, he
opening on view, 'so you can follow the working'. Hand goes
removes a balled red serviette from his pocket and leaves it
to pocket for the invisible powder,which you say gives a good
showing in the opening of the pocket. Describing how the
'powder' is a lovely excusefor getting hold of the duplicate,the excusefor obtaining the duplicateserviettein your fingers,and
you show the red ball concealedthere. To exchangethe pieces
red ball is concealedin the fingers and the exchangeclearly
for the duplicate,misdirectionis called for, you say. Passthe
shown. Finally the ball of white pieces is also seen to be
white ball into right hand, and extendleft hand and arm. Tell
surprisinglyrestored,finishing with whole serviettes,one white
them that you then wiggle your fingersand say that 'at no time
one red, and the audiencenonethe wiser.
doesmy left handleavemy wrist! This alwaysproduceshilarious
Required laughterand during this you exchangethe two balls in your right
Choosecheapservietteswhich are easyto tear. Thesehave hand! Do this very openly,openout the red servietteand bow to
a grain, so practisethe tearing carefully so that you can do this the applause'.
neatly. They are torn into quarters each time and squeezed Finally explainthat if anyonespotsthe pieceshiddenin your
gracefullyinto a ball with the one hand. hand, then you must be a real magician,and without the use of
Your inside left jacket pocket contains a folded white powder,blow on the bits and they too will be restored. . . open
serviettealongwith a duplicatewhite one folded and screwedinto the white servietteand take your third round of applauseas the
a ball. In the right outer jacket pockethave a white servietteball orchestragivesyou yet another big chord.
in the front corner and a red one balled up and tucked into the
rear corner of the pocket.
Working
Remove the serviettefrom your inside pocket, taking the
balled duplicateat the sametime in the finger palm. Flick open
the servietteand tear into four pieces,place theseon your right
fist and push the centre of them into opening of fist with left
forefinger. With the right hand squeezethem into a ball.
Transfer ball to left fingers, exchangingthem, and right hand
travels to right trouser pocket to obtain the 'invisible restoring
30 31

l:
 S MOK IN GA TIN
ANY will recall Al Koran's routine for the old soottrick.
which he featured for many years in cabaret. Fire is
alwaysa goodattentiongetterand this shortlittle cameo,
preferablywith musicalbacking,providesa pleasinginterlude in
any generalmagic act. The routine that follows was designedto
avoid ditching a flap and switching a coin, thus making it
completelyangleproof,in my view an essentialfor any effect
usedin today'scabaretconditions.
Effect
Two nestedbaking tins are shownand, to the accompanying
story, one is smokedwith a bunch of wax tapers,covering the
insidewith soot. A coin is borrowed,the digits of the date added
and droppedbetweenthe two tins. When the top tin is lifted,
there is the total written in the soot. The coin is returned.
--F r
-_:t A or table, as you approacha member of the audiencewith the
I r.rntouched
6ANDWICIl
EAKINGTIN6
fiOTEDNN
Required
Two matching tins as illustrated, with a flap that fits inside.
In England at least, these are available ready-made at
ironmongers, made by 'Skyline' kitchenware products. You need
two pie tins from this range, along with one of their sandwich
tins, which have a removable bottom. Discard the sandwich tin,
keep the bottom and you have a perfect flap for the pie tins. In
one tin, drive a small nail through the side, lll6th-in. up from
the bottom on the outside. The resulting jagged hole will serve
to hold the flap in place during the handling.
32
Obtain a bunch of wax tapers,about six held together with
an elasticband, and have somewater in a small glassfor dousing
the taperswhen alight. Take a 10p coin, add the digits of the
date and write this number on one tin, having smokedthe inside
of this with a good layer of soot. Drop your coin on the sooted
surface,cover this with the flap and nest the secondtin within
this one. If you lightly smoke the upper surfaceof the tin flap
at this stage, it will save too much smoke and burnt fingers
during the performance!
Working
"During a recentvisit to Africa, I calledin at a small village,
and found an old man standingin the main square,smoking a
tin . . . . obviouslycigaretteswere in short supplyat the time!"
During this introductionyou have taken the nestedtins and
shown these. Spin the plain one in the air and place it on the
outsideof the tin with fake. Light the tapersand commence
smokingthe insidesurfaceof the inner tin.
"I decidedto stand and watch, and the old man covered
one of the tins with soot . . . . and incidentallyburnt his thumb,
just like I am now!"
Showsootedsurfaceof the tin and placethis down on chair
tin, and have lOp droppedupon this.
"The old man askedme for a coin and had me call out the
date . . . let's assumethat it is the same as yours . . 1972 . .
1 and 9 is 10, and 7 is l7 plus 2 totals 19."
At this stagetake up the sooted tin and place it over the
other, whereuponthe flap will fall, switchingthe coin for you at
the sametime.
"Write the numtrer nineteenin the sand at your feet, and
I'll show you what we call Black Magic," he said,
I felt a fool, but did as he said, and when he lifted the tin,
there was the very number written in the soot, and that's what
I call Black Magic.
Here the top tin is lifted showing the number in the soot
and you take your applause. Hand back the coin on the other
tin, and have the date checked.
Throughout this routine, have the orchestraplay "That Old
Black Magic", building up to a chord as the number is displayed
at the end.
J-l
 BALLOONTO RABBIT
HE busy children'sentertainerwho producesa rabbit, is li t'-z''i
li i- i"t
alwayslooking for new waysof producingthe furry friend, ii,.. " .j
for it is common in this branch of work to appear
repeatedly before the same audiences. particularly if you
include balloon modelling in your show, these two ways of
changinga balloon into a rabbit should be of interest.
Effect
A sausageballoon is placedwithin an empty hutch and the
balloon burst with a pin. A live rabbit makesan instant visual
appearance.
Required
The specialhutch made of 6mm plywood is clearly shown
in the drawing. Fig. I showsthe front, with a cut out. The

f,,*,
I
I
I
bars are of thin dowelling set behind this opening into strips I
I
of l2mm squarewood, which also strengthenthe joint between I

the front and the top shown in Fig. 3 and the bottom of the
rssf_j.
hutch. (.lcrmn)

The end of the hutch (Fig. 2) hasa smalldoor. The top also
has a door, held closed with a simple turnbutton catch. A
clecorativehandle is fixed to the centre,the door being hinged
at the front.
In Figs. 2 and 4 can be seen the fake, which holds the
rabbit hidden in the top rear quarter of the hutch, hinged at the
back (X), and held up by two catchesthat engagein wire loops
set into the edge of the fake. When releasedthe fake drops
down releasingthe rabbit, this position being shown in Fig. 4.
Cover the insideof hutch and all parts of fake with black flock
paper.
lVorking
Rabbit can be loadedin the car and carried in. A dragon
silk is draped over the hutch and, with a sausageballoon and a
hatpin in your lapel, all is set.
State that you will make an animal out of one balloon,
inflate the sausageballon, rub it on your coat and stick it to the
wall or ceiling, etc. Pick up the coveredhutch and set on your
table, as you announcea dragon . . . whip off the silk and show
the dragon. Take the balloonand pushit in via the sidedoor of
hutch. It should extend out of the door ancl will completely
concealthe fake within, shouldthe audiencebe at very close
34
HOLE
DtTAWEtzglx
tluarters. Releasethe far catch,leavingjust the one nearestto
you holding the fake. Take the hatpin, build up the suspense
runrlas one hand jabs at the balloon the other, steadyingthe
hutch, releasethe catch and the rabbit appears. Open the top
to renrovehim. Afterwardshe can be replacedand left on view.
Another way of producing a similar effect is shown in the
lowcr drawing,using a drawer box of a sizeto take your rabbit.
Here a drawing pin is attachedinside the outer clrawerand a
nratchinghole to take the point drilled in the inner clrawer.
linsure that the point does not protrude into the secret
compartmentholding the rabbit. The box is shown empty and
the balloon squeezedinside. Quickly opening and shutting the
tlnrwerburststhe balloonand the rabbit is there.
35
 CHAPTER 5

FinishingStrongly
 FIN A L E P IC
|TIHE effect is the same as in the outstandingHen Fetch
'Mental Epic', but with addedsubtleties and the avoidance
|
-r- of any force. Magicians have gone to great lengths to
do away with forces in many one-aheadeffects,from a purely
aestheticpoint of view. The main assethereis that the performer
can stay at the microphone,which is whereany patter magician
must stay. Going into the audiencemeansdeparturefrom this
centralprop. Magiciansof the older schoollike to scoff at the
importanceof microphones,but any professionaltoday knows
better. They are the most importantprop we have.

Effect
Using a large slate dividedinto six sections,the mcntalist
makes three predictionsin the top sections,each in different
colouredchalk, thesebeingcoveredby cardsof matchingcolours.
A word, telephonenumberand card havingbeenchosenmentally
by members of the audience,these are written in the three
sectionsbelow. On removingthe cards all the predictionsare
showncorrect. The Chalks
Required Use coloured chalks to match the covering cards supplied
with the slate, usually red, blue and yellow. Using glue and
First the usual 'Mental Epic' slate from a dealer. This is sellotapebinding to fasten chalk end to end, you need the
amendedby removingthe woodenstrip betweenC and F in Fig. 1 lollowing: 1 red, I blue, i red/yellowand 1 blue/yellow. The
and replacingit with a strip of thin wood or card, so that the Display Stand: Whilst not essential,a stand similar to Fig' 5
extra flap at F can passupwarcls
underit to occupythe spaceC. assistsgreatly in handling and display and a small box fixed to
The shacledareain Fig. 1 at the top is the standardfake that the back holds the set of chalks out of view.
slidesfrom A and B to the positionB and C. A tab of sellotape Working
is fixedto the right bottomcornerof this to easeone'sgrip on the
To set the slate, force the extra flap down to F and hold it
slide.
in placewith the catch. Slide at the top is now pushedacrossto
A lengthof black cord elasticis fastenedto the back of the cover B and C, thus hiding the elastic on the face of the slate
slateat the top of the C position;passesdown the front of thc (Fig. a). Set out the cardson the standas in Fig. 6 and lay the
slateunder the white strip and behindthe additionalflap at F, at slateon top.
the bottom of which it passes througha hole and is knotteclat the
Take up the slate and the red chalk and write a telephone
front (Fig. 2). Normally the elasticshouldhold flap F in the C
positionof the slate,but it can be pusheddown to the F position number at A, then cover this with the red card. Do not call
ruttcntion to the coloured chalk, this will sink in later and
againstthe tensionof the elastic,where it is held with a simplc
confound any ideas the audience may have. Have someone
catch arrangement.This is merelya pieceof bent wire or nail
in a small diagonalslot suggesta phone number, and write this in red, slate towards
in the frame of the slate,which engages
nuclience,at D.
in the bottom edge of the flap.
39
38
 Take up the red/yellow chalk keepingthe red end hiddenby
cp,EaqFsre
the fingers and apparently write a prediction at B in yellow, ASISTTEARING
actuallyreversingchalk to write the telephonenumberjust given
in red. Write part of the number, pauseand add the last two DUPLICATEPAPTP.
digits. Reversethe chalk again and place the yellow aside,take
up yellow card and cover sectionB.
Requesta secondperson to give a four-letter word (watch - :I
the comedyhere!) and write this in yellow in E, followedby the
initials of an intimate friend of a third person.
Turning now to a fourth person, throw them an invisible
pack of cards and have them just think of one. Take up the
yellow/blue chalk to apparently write in blue, but in yellow
repeatthe word and initials at C. Take up the blue card and in trOLDEDDUPUATF
positioningthis, move the slide acrossby meansof the tab to
positionsA and B.
Finally, have the card namedand in writing this at F a little
subtletyis used. Pick up the yellow/bluechalk and state that
you will write this in yellow, showing that end of the chalk,
reverseit behindslate to write the card in blue, back of slate
torvardsthe audience. realisethat you have usedthe wrong
colour and with your fingersapparentlyrub it out, but in fact let
the extra flap fly up to C, fingersensuringthat it doesso silently.
Reachfor the blue chalk and write the card again,slatefacing
audience.
and cleanlyshowsa newspaper, two full sheetsin fact, tabloid
All is now set for the climax, with the usual recapsand
size and tears it into 32 pieces. Piecesare dealt from the pile
build up, beforeremovingthe cardsone at a time for threewell
one at a time on to a tableor piano,and the spectatorinvitedto
earnedroundsof applause.
call stopanywhere. The pieceat which he calls stop is handed
over to him. He readsthe headlinesetc., from the paperaloud,
both sides,then opensthe envelopeand reads the prediction,
which matches. Left with a pile of pieces,the performerinstantly
CLIMAX NEWSPAPER
TEST lcstorestheseinto ihe completenewspaper, leafsthroughit ancl
fl-HERE have been many newspapertestsin the past,many pcersthrougha hole in the back sheet,apparentlytherebecause
are long-winded and othersrequire calculationor reliance of the spectator'spiece,as he bids the audiencefarewell.
I
-a on memory. Wrat follows is a trouble-free and self- Required
containedversion and whilst the climax may upset the purists A dozen duplicate copies of the Evening NeD,sor similar
who vow that one shouldnot mix magicwith mentalism,it makes tabloid paper will set you up for many shows. Keep the outside
a good finale to any act.
two pagesor sheets(8 pages)of each paper aside. From the
Effect insidesheetsselecta piecesize6-ins.x 4-ins.(150mm x 100mm)
A sealedenvelopejs handedto a spectatoras he returnsto on which suitable bylines are printed, and carefully tear 12
his seatafter helpingin a previouseffect. The performertakes rluplicatesof this.
40 4l
 T'hispile of 12 piecesis then placeclwithin a pocket glued
on to page2 of the newspaperas illustrated,the pocket made
from a matchingpieceof papersizeat least10-ins.x 8-ins.(250
x 200 mm). Placea secondfull sheetinsideto completeyour
paperfor use.
Preparea secondnewspaperas describedin "Tearing Up
The News", exceptthat in this casethe odd pieceshownat 'X' is
stuck oh as shown,insteadof the larger piece'X' shownin the
previoustrick. Fold this duplicatepaperto a sizeapprox.6-ins.
x 4-ins.(150 x 100 mm) and have this in a clip or Topit Pocket
under the left side of your jacket. Note that a piecehas been
torn from the back sheetof the duplicatepaper as illustrated.
On your lreadednotepaper,print with a felt pen your prediction
and sealthis in an envelope.
Working
Hand the sealedenvelopeto your helper as he leavesfor
his seatat the end of the previouseffect,askin-e him to keep it
in his pocketuntil later. Take up the newspaper displayboth
and
sheetsclearlyboth sides,one in eachhand,left hand over pocket,
then place back togetheragain. Tear sheetsin half, placing
tlrosein your right hand over the pocket. Continue tearing a
further threetimes,but in eachcasethe piecesin your right hand
are placedbehind the pocket package. With the 32 piecesin
your left hand, the pocket will be third piece down. Explain
that you wishyour helperto call stopanywhere,asyou commence
dealingfrom the top on to the table or piano. When you reach
the pocket, tear off this bit if necessaryand continue now
through the 12 duplicatepieces.With commentslike: "Say stop
anywhere. . . tonight!" and "This couldbe a long act!" you will
encourage him to stopduringyour duplicates.You can give him
a choiceof this one, the last one or the next one, etc. If, as
rarely happens,you get through the duplicatesbefore he calls,
hold back the last one and continuea sort of seconddeal. easy
enoughwith a raggedpile of newspaper bits, but it will probably
neverbe necessary.
When the selected pieceis reached,hand it to the man with
the envelope. In turning back to your working area,your right
hanclslips unrler left side of jacket and loads on the duplicatc
42
newspaper.Have the headlines or print readout from thc paper
and tlre predictionthen readfor the apparentfinish of your feat.
Meanwhile you have gatheredup the tlealt-offpieceson to the
pile in your hands.
After the applausesay, "That leavesme with this pile of
pieces"and you show them back and front, the maskingpiece
'X' disguisingthe duplicate. "I'm off to catch up on the rest of
the news, night!" accompanies the flash restorationas in
-eood
"Tearing Up The News". You leaf through the paper, peer
throughthe hole in the backpage,point to your helperto indicate
that the hole is where his bit shouldbe and staggeroff to your
ovation.
CABAR ETR ABBITVAN ISH
INCE my earliest clays in magic, it has always been my
practice to climax my children's shows with tlre production
of a live rabbit. It pulls in the shows like nothing else can
and I am clear to pack away the show while the children pet the
little fellow. In cabaret, to produce a rabbit gets the oohs and
aahs, but rarely the applause that is required to get olT' so wc
have to vanish him in some way and this was the problem I set
myself. A breakaway sensationalvanish, with an audience on
thrce if not four sides. In addition I wanted to use a fully grown
rabbit, not a baby, and as one's assistantcannot rush off under
these conditions, once vanishcd our little friend has to be
comfortable for some rvhile.
Bffect
A live rabbit is placed in a paper-coveredbox on a table'
The box is dismantled, the lid and sides all being shown both
sides before being smashed over the arms, and similarly the
bottom of the box. That leaves a narrow frame on the table'
from which a flash of white projects, but this proves to be a
white silk, and the frame is shown around. The flat sides ale
piled on the table, but now a piece of fur falls into view below
tlrc front of the table, but this proves to be just a bit of fluff!
 FIG.)
The table top is removedalong with the flattenedpieceson it,
-
and all are put on the floor or flat table top. The table standis
then folded flat. No clue is left as to the rabbit's whereabouts.
yet everythingusedis there on view.
Required
The special table as illustrated (Fig. 1), the loose top LID OF
,L!FTI
containing a wooden lift. The sizes given will amply hold a
NetherlandDwarf or miniature Polish rabbit. The Supreme
Magic Co. effect 'Curious Cottage' uses this table and the
additional cottage makes an excellent rabbit production for
children. Here we usejust the table,alongwith the specialbox
and frame.
The Box
..l/#
The front, back and end frames are made of plywood or
softwood. Note the beadingand thin filletsaddedto the bottom.
lll| ),o'/,
i'#,a--$/#*)\
Headlessnails enter holes in the bottom frame to hold the sides
spael ilsnrrxueo
in place,and the box is otherwiseheld togetherby simplecatches
as shown. The take apart hingeshold on the lid or top, so that
it can be slid off and lifted awav.
PAPER,IS
FASTENED
The Stand HG . 4 AT FPONT
This is shown in Fig. 1 and is in three pieces,hinged to
fold flat.
t
Decoration
The top is decoratedwith Fablon, the silver metal strips
tti-'
being cut from Decorstrip or other metallic self-adhesive strips.
Thesehide the top of the lift and thosetwo strips around the
standmakeit look narrowerthan it is. Headless nailsprojecting
from the top of the table ensurethat the stand sits squarely,
giving clearancefor the lift.
Cover all sidesand top with tissueor newspaperon the
inside. The bottom has a pieceof paper attachedat the front,
the rear edgebeing doubledover a length of wire to keep it stiff.
Piecesof double-sided adhesivetape on the rear of the bottom
frame, at the tops as shown will hold this paper flap in place
later.
A piece of fur is hung by a thread from the front of the
tablestandso that it just hangsin view. A secondlongerthread
holds this hidden as illustrated,the end of this secondthread is
heldwith adhesive tapeto rear of tabletop. The completedset-up
in Fig' 6'
::,'no*"
Working
Open the box lid and insert the rabbit. He really goesinto
the table trap and this is fastenedover him. Closethe lid and
gestureover the box. Removethe lid, show it both sides,and
break the paper over your left arm, paperedside first. Unhook
the back of the box from the sides,show that and break it on
your right arm, immediately drawing back the paper at thc
tape. Now you
bottom so that it is held flat by the double-sided
can remove,show and break the front and two sides,all on your
right arm, and finally the bottom. This is broken over your left
arm, the filletslining it up with the top frame.
You now notice the white silk, throw it in the air, catch
it and tuck it in your breast coat pocket, followed by showing
and spinningthe standbetweenyour hands,and bowingto the
applause.
The trick apparentlyfinished,replacethe standon the table,
squaringit up by use of the nails. Place the trvo large frames
from your left arm on the stand, the beadingcentralisingthese.
CHAPTER 6
Dump all the framesfrom your right arm on top of all and walk
forward, breaking the long thread as you leave. Feigning to
hear a commentfrom the audience,look around at the table
where the fur now hangs in view. Return to the back of the
table ancl,with your left hand underneathand right hand on top,
sweepup the table top and all on it. Fig. 4. This causesthe
lift to go up into the pile of frames which hide it and you can
Children'sHour
put all asideon a table, floor or other flat surface. Pull off the
fur, put this in your pocket and then, with a final flourish, folcl
the table flat and take more applause.
Rehearsethe routine carefully,so that it can be done bolclly
anclyclu will have a valued feature effect.

46
 Children'sHour THE MAGICALTV SET

J F you intend to make a continuousand steadyliving solely

I from performing magic, working from home rather than
-r- touring around the globe,then entertainingyoungstersmust
'.; play a large part. It is true that birthday parties and the like
cannot bring the fees that can be commandedby the leading
performersin cabaret,but they go on for ever, regardlessof the
age of the performer and can be bookeddirect without the need
for agents. In fact one can enter this field almost overnight,an
advert in the local paper bringing immediate response. At
Christmastime in addition to private house shows,there is the
added bonus of school end-of-termshowsand works and large
firms parties.
Anyonewho can entertainpeopleshouldbe ableto entertain
an audienceof young children. There are few set rules that
can be laid down, as so much dependsupon the personalityof
the performer. Somemay find the 'Jolly Uncle' approachsuits
them, others like myself may not find it necessaryto depart
much from their normal approach. Probably more than in
other branchesof magic, entertainingand controlling children
requiresexperience,which can only be gainedby sufferinga few
minor disastersduring the early days!
In private homes and village halls, factory canteens,etc',
one will be faced with some deplorableconditions,so setting up
and clearingone'sshowbecomesa vital part in planningthe ideal
programme. It will frequentlybe essentialto get readyin front
of the audiencein privatehomesand, oncethe showis over, one
has to face the problem of clearing and packing before the
audienceransackyour props! T'he answer to most of these
worries was given to me in the early days by Harry Hickson, a
very experiencedperformer, wltose motto was always'Leave all
the worriesat home'. His showswere pre-setat home in large
roll-on type containers,and on arrival were wheeledbefore the
audienceand he was ready to start the show. At the finish they
were wheeledoff, all closedup, safe from any meddlingfingers.
Not wishing to confine ny programmeto one suitableonly
for very young children,I soughta theme that could be adaptecl
for all ages. My pal Peter D'Arcy had a Magic Wishing Well,
The MagicalT.V. Set a Magic Castleand his CrookedHouse, detailedin his excellent
49
 book Children's Parties u Speciality, another Gooclliffe to the lower section. Accessto the top main sectionof the set
publication. I then hit on the idea of a Magical TV Set, and it is via the open top, behind the card stand,and most of the props
hasover the yearsbeena great successfor me and earneda great are held in this part, suitablypartitionedinto various sectionsto
deal of money. Each year it is checkedover to ensurethat the hold the items in place.
charactersreferred to in the show still appear in current TV
programmes. The theme is wide enoughto allow the inclusion
of many tricks that have little or nothing to do with TV. The
whole show is set up in the comfort of one's home, carried in
the boot of the car, wheeledbefore the audienceand set to go
immediatelyupon arrival. At the end it is closedup, wheeled
off and in one trip transportedto the car ready for departure.
In a perfect world it would then be all set ready to go at the
next show,but alas I have never been able to quite achievethis,
but by compromisingon someof the routinesit could of course
be possible. In the following pagesyou will find the full plans
and detailedeffectsthat make up the one-hourshow. It will well
repay the trouble of making up the prop_s and will give you the
satisfactionand confidencethat can only'be gainedby knowing
that they will not have 'seenit before'.
The magicianunveils a large colourful televisionset, which
opensup, servesas the table for the show and containsall the
props inside. The children meet their favourite stars from
children'stelevision,who help the magicianin the show. That
briefly is the idea of what follows. You will wish to include
your own particular favourites, but the effects used by myself The bottom loudspeakerpart is removed and replacedby
are listed and the TV set can be amendedto hold whateverprops a 'hutch', with hinged front door, containing bars cut from
you may wish. welding rods. This forms a homefor the rabbit at the completion
The TV Set of the show. Hand holesare cut in the sidesfor carrying and all
This is illustrated and shown in the photograph. It was is painted and sprayedto taste. The screenis replacedby an
made from an old console model, obtained free from a TV illustratedcard, with 'TV MAGIC' cut from fablon and covered
repairer'sworkshop. Becauseof this it is heavy. A much lighter with perspexto form the new screen.
job can be made using plywood. The top was replaced by
The illustrations show how the props are housed in the
hinged plywood flaps that open either side to provide working various compartments. These should remain set in place, even
surfaces. When theseare closedthey rest upon a shelf inserted though the outfit will be carried in the car boot, lying on its face.
in the front. A card stand is hinged to the rear of the shelf, A gay car rug is used to cover the set in carrying and for its
which when lifted is locked at an angle of 45 degrees. This is initial appearance at the start of the show. A collapsibleluggage
accomplishedby attachinga length of dowel rod to the back of trolley will be found a great assetin conveyingit all from the
the card stand, at the bottom, which extendseither side, these car to the sceneof operation,where it can then be pushedalong
projectionsclipping into small 'Terry clips' screwedunderneath
on its casters.
the narrow side strips which form part of the top.
The back of the set is replacedby pegboard,the lower half The following effectsmake up my hour show. You will no
of which is hinged at the bottom to form a door giving access doubt wish to include some of vour own ideas,but thesehave
50 5l
 been speciallyselectedto make a programmesuitablefor large
7o.P and smallaudiences,of all ages,for presentationanywhere,even
out of doors.
TAPE t. Davenport's Diamond Silk Frame (The Magic Aerial),
PE@.P.DEP.
combinedwith the SupremeBang Gone Silk Vanisher, for
a quickfire openingwith a mild bang.
2. T.V. and Radio Times Pop up Book, introducing current
T.V. stars,with the Tape Wristwatch Gag.
60ilvEp6loN 3. Tom and Jerry versionof Culpin's'My Magic Mouse',sliding
TV,'ETrc effect.
MAGI6TABLE 4. CommercialBreak, using Soft Soap and EvaporatedMilk.
6 CASE 5. Egg Bag routine, with two helpers,rewardedwith balloon
animalsat the end, tied in with Farming Programmes.
6. Commercial Time Again, Barry Gordon's Flour Grader
version of 'Elusive Rabbits'.
7. The Inevitable Western. Peneleaseversion with Lone
BACKDOOP, Ranger and the Indians, dressingup three helpers.
L Opportunity Knocks. Funnel and Foo Can water routine,
with Tannen'sBrainwashed(Tap on the head).
9. The GiveawayShow. Just Chance!5 and Envelopes.
10. Circus Time, with three balloon models,Sadie the Seal
card in balloon using a card box, then Toto the Clown silk
and streamerproduction,leadinginto:
ll. HOW, the programmethat givesthe tricks away! Sucker
Torn and RestoredServiettes (seepage30).
12. Radio to Rabbit, then Hypnotisinga Rabbit.
That briefly details the show, but here it is in full so that
you may use the sameeffects.
ILK
JUG The Introduction:
"Hello, my name is Alan Shaxonand I have been called a
nragician. You have all seenmagiciansbefore, have you?
Do you watch them on television?. . . I have beenlucky enough
to appearin many televisionprogrammesand have met many of

tToro'

T,VTIMES
ffiffi FIZAME
| rctz
JETLEY
thc televisionstars,so I have persuadedsomeof them to come
and help me in our show. This is my Magical TelevisionSet
(uncoverand showset). . . it's not like the one you haveat home,
lhis opens up, and believeme it has some funny old works
inside!"
l. 'fhe Aerial
LAY.OUTASSEENIN PLAN: "First of all, we have to have somethingstuck up on the
lool',what is that called? The aerial,quite right, but fortunately
53
52
I have an indoor one. It's a funny aerial, and even that is in
colour!" Removeand displaythe Diamond Silk Frame. In the
elasticare tucked red, yellow and green 18 inch silks,a duplicate
yellow being set ready for its instant appearance. "Let us start
with a quick trick, to make sure that you are all watching. It's
very fast, so don't blink or you will missit. First of all we needa
magic word . . . T.V. CADABRA! Let me hear you all call it
out, 1-2-3 Good, but in a moment you had better make it
louder". Remove the yellow silk from the aerial, miscall the
colour etc., then load it into the Bang Gone Silk Vanisher.
Holding the frame in your left hand and the Bang Gone in your
right, they call the magic word and, on the count of l-2-3, the
silk simultaneouslyvanisheswith a bang and reappearsin the
frame.
"We'11put the aerial here on the piano, perhapswe will get
a betterpicturethere".
a*r*:*
2. The TV Times
"The trouble with TV is that you neverknow what is coming
on next, so we must check in the Radio and TV Times. Let's
see,what is today? Right, and the time is, 1et me see,7*-ins.
past four. Hey, I'm nearly 2-ins.fast!"
Using a plasticTV Times cover, a book is made up of card
pages,betweeneach of which is attacheda pop-up figure of a
current TV favourite, e.g. Mickey Mouse, Pink Panther,Tom &
54
Jerry, Yogi Bear, Batman, and so forth. The audience
participation this evokes will well repay the time involved in
making this up. It is of coursebasedupon Davenport'seffect,
"Novelty Programme", by E. J. Moors. The tape-watch is
Supreme's"Tape MeasureWatch."
Repeatedlyshow the "Tom & Jerry" pop-up,and then lead
into the following:
3. Tom & Jerry
This is Arthur Culpin's great effect "My Magic Mouse",
describedfully by Fabianin the book Magic CircleMagic. Merely
replaceMickey Mouse with a picture of "Jerry". The Supreme
"Lion Hunt" is almost identical. but uses cards for the
reproductionin placeof the frame in the originaland can easily
be amendedto fit our theme. The large frame vanishingprop on
Diebox lines, is carried in the lower sectionof the TV set and
replacedafter use.
This is a real shouting trick, so now we calm down again,
having to stop the show for a:
4. Commercial Break
This is the standard"Soft Soap" effect of Davenports,but
use 18 inch silks and pour in milk from the Supreme"Sealed-in
Milk Jug" for addedeffect. The jug is set in the top sectionof
the TV upsidedown, righted on removal. The sucker angle is
alwaysa winner with all ages,leadingto the tearingup of the box,
an expensive,but in my view, essentialclimax. The front shelf
of my outfit has a length of flat elastic attached,so that the
silkscan be tuckedunderthis whenout of doors.
Time now to have helpers from the audience and Ron
Bishop'sinvaluableline is marvellous:"I only choosethe ones
who are sitting quietly, their arms folded, legs crossed,noses
crossed. .!" (From his book Laughter All the lYay' Another
Goodliffe publication!). Invite a girl to assistand ask if she
watchestlre farming programmes. State that you are going to
o'Hasshe a boy
give her a lessonin how to keep chickens,etc.
friend? Then let us find one for her," . . . Invite a boy up and
introducethem to eachother, "Are yott married?"etc.
5. Egg Bag
We all presumablyhave our own routine for this classic' To
nrc no betterbag has beenproducedthan the old VampireBag,
with the net corner as illustrated (Fie. 1). The netting
camouflagesthe pocket openingperfectly and the egg is seento
arrive each time. A heavy egg is requiredand GeorgeKovari
55
sellsbeautiesthat look like the real thing. My routineis basecl
upon that of Len Belcher in Abracadabra No. 4Bl, page 202,
which is where f first learnt the wonderful lemon gag. The egg
is alreadyhiddenin the bag, a ScrawnyChickenis in a decorated
tin, Spring Sausages in a trouser pocket along with a plastic
lemon.
"First of all we need an egg. Do you have one in your
pocket? You find funny things when you help magicians!,'
Have boy searchhis pockets,as you gain possession
of sausages,
which you then produce from beneathhis coat. Finally recall
that you have an egg,alreadypackedin a tin, which you remove
from TV set and hand to boy. Requestboy to open tin, which
you demonstratelest he expect somethingto leap from within.
Replace lid and ask him to take out and hold up the egg.
Meanwhileyou demonstratethe empty bag to the girl on your
left, apparentlyobliviousto the howls that the appearanceof the
chickenwill induce! 'nOhdear,it's hatchedout. I'll keep that
for my dinner tonight! I am afraid you will have to lay an egg
for us!" Dump tin and chickenin top of TV set and have boy
feel in bag and say cluck-cluck. Pinch the egg, so that it
suddenlyappearsin the net corner.
i'-i
,/l
Apparentlyremoveeggin right hand, have boy blow and egg
vanishes,girl sayscluck-cluckand egg reappearsin bag. Repeat
the above,but apparentlyplaceunderarmpit for the usualsucker
effect,having egg return to bag.
56
Explanation: Show that egg is really secretly taken fronr
bag and quickly slippedinto trouserpocket,which have boy feel
(he really feels the lemon there). Have both your wrists held
and attempt to make the egg fly from your pocket into the bag.
It fails to appear,so have boy removeegg from pocket as you
engagegirl on left in conversation.He removesthe lemon,
which is a howl believeme!
Finally have them both feel in the bag, show it empty and
have the boy hold it up in both hands. As you hand it to him,
allow the egg to fall into the corner (Fie. 2). and hold the bag
straight. Hand the girl the invisible egg, have her throw it at
the bag. Ask the boy to releasehis left hand, shorvit empty,
shakethe bag with his right hand, making the egg appearin the
net corner (Fig. 3). He then removesthe egg with his left hand
and both bow for their applause.
State that no farming programmeis completewithout an
animal or two and then go into a balloonmodellingsession,with
the usual gags found in the specialised books on this subject,
finally making a horseand a giraffeor similar as rewardsfor your
assistants.Be sure to keep the animalsfor collectiot'tulter the
show.
6. CommercialTime Again
Here I perform the excellentversionof the classic"Elusive
Rabbits" given by Barry Gordon in Abracqdabrello. 1173pagc
108, using the ever popular Flour Gradersfrom the Homepride
adverts,the coversbeingdecoratedlike the flour bags. Another
testedshoutingroutinewith a strongclimax.
7. The InevitableWestern
The settingfor this is as follows:A cowboyhat containing
two folded l8-inch (455mm) silks, one 36-inch(910 mm) scarf,
and 6 feet (2 metres?)of rope, rest in the lower sectionof the
TV. A miniaturebreakawaywand is in an elasiicloop in the
top sectionand the insideright hand jacketpockethasa standard
wand, around which hangsthe second6 feet of coiled rope. A
breakawaypistol and two Indian head-dresses, alongwith a black
cye-mask,are with the cowboy hat, all held together by the
coiledrope,so that they may all be removetlat once.
57
 FIG, ONE
#
PAPEg TIED PAUND WAND
361 SILK APOUND
BOYS WAIST
SlNGLE EOPE KNOTTED
A-TBOYS BACII >.
\
During the routine the wand is tied in the centre of the
ropeswith the usualfake knot asin'Magic Washing'(Fig. 1), ancl
the largesilk is tied aroundthe wand and knot. The endsof the
silk are tied arounda boy'swaist as he standsbehindthe ropes
(Fig. 2). His wrists are now tied to the ropeswith the smaller
silks. Finally one end is taken from each Indian and the rope
tied oncebehindback of boy (Fig. 3).
Invite a boy to play the part of the Lone Ranger. Dress
him in the mask and cowboyhat and arm him with the comedy
pistol tucked into the top of his trousers. Another boy and a
girl play the Indians,dressingthem in head-dresses,
one of which
is purposelyenlargedso that it can be put down on the shoulders
by accident. Explain that two ropes are neededfor the trick
and hand the boy the breakawaywand to wave over the coiled
length of rope. Nothing happensand you extract all the comedy
you can from the wand collapsing. You need a bigger wand, so
as you dump the miniature wand with your right hand, your left
hand holding the rope removesthe wand from your inner pocket,
loading on the secondrope in the process. Boy wavesthe wand
over the rope(s),which doubles,and the two lengthsare allowed
to drop down, one rope in each hand. The Indians hold the
ropesat the endsand the boy drawsthe pistol on them. He fires
and the gun collapses.Now helplessin the handsof the Indians,
they tie him up.
58
Rernovingthe wand, the magiciannow has the audiencecall
out the magic word, the Indians pull on the ropes and our
cowboyhero is free!
8. The Funnel and Foo Can
Complimentingthe participantson their acting ability, they
are askedif they would like to be on the stage,or even perhaps
on television. Explain that the first essentialis stagedeportment,
so you will give them each a little test. This is the introduction
to the water routine that follows,usingthe Funny Funnel, Foo
Can and a sealed-topbeakerfull of water, all set up loadedin the
top section of the TV set. Becauseof the ink-well principle
usedin the funnel, the water will not spill in transit.
First balance the Foo Can on one helper's head and see
if he can crossthe stagewithout it falling off. Repeat with all
tlrree with varying results. It slidesoff half the time, so suggest
it would be easierif the can was heavier. Fill it with water
frorn the beaker and try again. However,you explain that the
watercannotspill from the tin, evenif it is upsidedown and you
turn it over to demonstrate, but your hanclcoversthe opening!
"Why doesn'tthe water comeout?" They soontell you, so say
that you can take your hand away, which you do as you slide
the can on to a boy's head! This was a mistakeyou explain,
but you can soonsort him out. He holdsthe can still with both
hands,a secondchild holdshis elbowwith one hand and stretches
his other hand out with the fingershangingdown, the third holds
the beaker under the fingers. You will make the water pass
throughthe boy and girl and clripout of his fingers,but to save
a nressyou use a funnel. Placefunnel under the fingers,release
valve and water flows into the beaker. Carefullylift Foo Can,
rattle wand insideto showthe water all gone.
Suggesttrying it the other way, have all three hold hands
in a row, placeFoo Can on the floor under the first boy's foot,
anclslidethe Funnel into sleeveof boy at the other encl. Pout'
water into funnel,invert it and placeaside,pump his arm, then
shorvwater now back in Foo Can and return waler to beaker,
rvhichyou seal. Thus enclsa hilariousroutine.
For an addedclimax, note a damp patch still on the boy's
head and say it needs"A tap on the head". Fix the comedy
tap from Tannen's"Brainwashed"to boy's forchead,turn it on
and rn'aterflows out into the beaker! In privatehomes,clrape
the car rug o\/erthe carpetto fttrm a'sta-{e'.lestthe odcltlropof
water shouldfall.
9. The Givaway Show
After going through all that, they deservea reward, so
using four envelopescontaining messages"Hard Luck", "You
shouldhavechangedyour mind", "Better Luck Next Time" and
"Very Near", all numbered1 to 4, alongwith a f5.00 note folded
in a thumbtip, perform the usual 'Just Chance' or 'Bank Nite'
routine, where you get the 95.00. Finally reward the children
with three balloon models, making the last one the familiar
sealwith a ball on its nose.
10. Sadiethe Seal
Hold back the last child with the seal and introduce yclur
own Sadie the Seal, Jack Hughes' version of card in balloon.
Use a card box for the vanish of the card that appearswith a
bang in the balloon.
o close up the TV, gathering aerial etc., so that everything is
ooo
o
on the boards,causingthe load to springup into position. Burst
the holesand producethe silks,and from the clown'smouth the
coil of paper.
11. Torn and RestoredServiette
Using the torn serviette,continuewith the routine "Sucker
Serviettes"detailedearlier in this book.
12. Radio to Rabbit
This forms the climax of the showand the illustrationsshow
the apparatusrequired: the radio and its cover. The cover is
made a push fit over the radio, the baseremainsbehind after the
vanish. The loaded radio is carried in separatelyfrom the car
at the last moment and in a private house stood on a shelf or
somewhereas if it is part of the furniture. A small tape
recorderis in the top of the TV set with suitablerecording and
a pushbutton at the rear of the set.
Sayingthat it is time for the little white spot to appear,yotr

covEe

LQ A D
BAO

AUDI
Toto the Clown
This was marketed by Vampire Magic Co. years ago, no
longer available. It is.however easily made up as illustrated.
It consists of two boards hinged with rings, and a third
hinged board that contains the pocket of silks. A paper
serviette is placed between the trvo boards arrclall stood on the
card stand, allowing the load to fall behind it. Take out and
show the paper and replace. In picking up tlre clown, push clown
60
safelyaway,and sayyou will put somemusicon the radio. Look
around and spot the radio, set on top of TV set and tune in,
actuallyswitchingon tape recorder.
Showcoverwith doors,coverthe radio and havethe audience
shout the magic word. During this switch off the tape. Lift
cover to revealthe rabbit, as fist punchesthrough the cover, the
front door going in and the back out to show it empty. Put it
behind the set. Pick up the rabbit, drop basebehindwith cover
and sit yourselfon the TV set.
To hypnotisethe rabbit, lie it on its back on your thighsand
he will appear to be asleep,legs in the air. This gives you
completesilence,marvellousafter an hour of hubbub! Finally
pinch your kneestogetherand rabbit wakesup. Showhis hutch,
placehim inside,bid everyonefarewell and just wheel it all off.
IN C ON C L U SION
In past days magicianswent to great lengthsto protect the
secretsof their craft. Today alas,theseare readily availablein
books adorning the shelvesof public libraries, in magazineson
the book stallsand young peoplehave the money to buy the lot
from the dealers.
It is essentialtherefore, that we should be tireless in our
effortsto ensurethat the effectswe use,if not original, are given
the thought and study that can alonegive them the individuality
that marks the successful performer. Great magic rests
undiscovered in the books and writings of the past, so choose
those effectsthat are rarely seen today, modernisethem and
presentthem in a way that is in keepingwith the times.

* It is my sincerewish that this book may find its way into the
hands of those who are preparedto take at least some of the
That is the current show that occupiesmy Magical TV Set.
tricks that I have used and Dresentthem in their own individual
In the photograph,two other routinesare illustrated,which have
wav.
done their share in past programmes. There can be seen the
Flintstonesversion of the Elusive Rabbits, and Yogi Bear and
Boo Boo with the tarts was a variation on the Robbersand the
Sheeptheme. TV comic papersand ChristmasAnnual Books
are very useful guides to drawing and painting the necessary
characters.
You may have noted that the ChineseLinking Rings is in
the TV set. This is a spare routine for those occasionswhen
teenagersare presentwho may presenta problem. Well done it
will alwaysgain their respect.

62 63