To make use of this chart, look down the Key column and locate the pair of items you have returned to the envelope.

Having found these, move to the right, the pair in the First column belong to spectator one, the next pair to spectator two and the last pair to spectator number three.

This information you now reveal in as entertaining a manner as possible, you will find plenty of scope to play act this part to the hilt.

The props for this pocket version may be as simple as a few pieces of white card with the names typewritten in, or a nice looking set may be made up with "Lettra" dry type.

Mention was made of presenting this routine during a more formal show. The three envelopes used by the spectators remain the same, but in place of the printed cards used to denote the places and objects substitute three coloured travel folders, obtainable from any travel agent, and use five of the miniature bottles of spirits obtainable at most wine stores.

The KEY chart is written on the back of a clip-board, and clipped to the front of the board you have a mock customs declaration form. Each assistant is asked to read the declaration and of course you have ample time to read off what information you require. When the routine is finished give each assistant a miniature bottle of spirit as a memento of his first and, we hope, last attempt at smuggling.

bob tjamilton


The David Berglas article has prompted me to write up a method for bending borrowed keys which I came upon almost by accident.

As I'm sure you know it is so often possible to improvise an effect when performing close-up magic that has an astounding impact on the spectators. The working conditions and atmosphere providing the cover and misdirection to enable you to make the critical move that makes the impromptu miracle possible. After the event it is very difficult to define precisely the method because of the numerous variables involved. What I'm trying to say is that what follows is a principle which can be used when the conditions are right.

As so often happens in this 'Geller age', talk at the club or pub gets around to his (I almost put a capital H!) special powers. Knowing that I dabble in the magical arts I was asked if I could perform a 'bending' effect. In typical Geller style I stated that I could, but not necessarily just when / wanted to — the powers were not completely in my control, however I would be prepared to try!

I asked the assembled group if they had a bunch of keys, to throw them on the table. (Plenty of scope here for bawdy humour e.g. "Is this how wife swapping really began!!").

Taking up a couple of bunches of the keys, I noticed that one of them had a household 'back door' type key on. See Fig. 1. As I toyed with the keys (maintaining an incessant flow of Gellerisms) I managed to position the end of a Yale 'front door' type key into the opening of the 'back door' key. See Fig. 2. All this was done under cover of the curled fingers of course. I now had a simple lever system, all I had to do now was to put pressure on key B, end of key

A was 'locked' under the ball of the thumb. Whilst examining one of the other keys, C, I applied pressure to the end of key B by using the heel of this hand. See Fig. 3. It's difficult to describe this exactly and, of course, there must be sufficient misdirection to cover the application of pressure. The sort of remark I made was — "By the way sometimes the key actually breaks — so I hope this isn't the key to a chastity belt!"

I think that if you play around with the lever system described you'll come to get the idea. There has to be some movement of the hands in order to hide the pressure.

End of A 'locked under ball of thumb

End of A 'locked under ball of thumb

Pressure applied here

Pressure on end of 'B' applied with heel of hand as thumb and fingers rub key C

Pressure on end of 'B' applied with heel of hand as thumb and fingers rub key C

After bending the key (it v/as still concealed by curled fingers) I began gently rubbing key C, after a few seconds I remarked that I wasn't having much luck with that key. I pulled the bunch of keys from the hand, Fig. 4, making sure that the bent key was well covered and asked who the keys belonged to. I then dumped the keys into the hand of the owner asking him/her to hold them in a closed fist. With suitable patter about the power being sometimes generated by the owner of the keys, I placed left hand above and right hand below their closed hand and asked the person to close his eyes and think "BEND". I clicked my fingers and asked him to examine his keys — I acted very surprised, a la Geller saying, "Look, look one has bent".

The above is a sketchy outline of the method I have used many times now and have found I could put in other bits and pieces. E.g. when rubbing the key C I would call out the number of the key B, the one being bent, asking them to remember the number, this miscalling can only be used when the keys are similar i.e. B & C. When the bending is finished and the keys dumped into the spectators hand the impact of the named key being bent gives the effect added punch (see Fig. 5).

axton fraijcis

Was this article helpful?

0 0
Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

Get My Free Ebook

Post a comment