1. Palm the fake ball from your right coat pocket in your right hand.

2. When someone has pointed out one of the balls which you left on the table, take it between your first and second finger.

3. Apparently drop this ball into your left hand, buf in reality switch it with the fake ball, while you palm the first ball. Without any pause you take with the right hand the second bail which is still lying on the table and put it in your coat pocket, where you leave them both.

4. Arriving at this stage, ask a spectator, how many balls you have in your left hand. Show him the one (fake) in your left hand. Convince him it is only one ball in your left hand.

5. Now you can produce the three ribbons quickly from your left hand.

6. Wave the produced ribbons in the right hand and stroke them with the left hand. As you stroke the ribbons, take away rhe hollow ball from your left hand between the second and third fingers of the right hand. Draw the ribbons with the right hand backwards to the right in direction of your right outside coat pocket .Push the ball with the two fingers into the pocket while you show left hand empty.

These movements are not unknown to those who are familiar wirh work with a handkerchief ball.

7. Then drape the three ribbons across the table. Take up the red one with your right hand and at the same time steal the 1 ittTe packet from behind your left lapel and finger palm it.

Stroke the red ribbon with your left hand and go on in taking up the ribbons until you have them all in the right hand.

8. Stroke the ribbons with the left hand and gather up the opposite ends in left hand. Straighten them and bring the ends from your right hand over into the feft hand.

In fact you are folding the ribbons with your right hand into the left hand.

(Continued Overleaf)



The cabinet which has a rotating rear panel is one of the very few production boxes that has ever appealed to me, largely I think because it looks like magic when viewed in action from above.

It was for this reason that I first constructed such a box, and then having made it I never used it until one day I hit on a routine that has brought it back as a firm favourite.

I found that on my revolving stage I could stand two cocoa tins, side by side, so I painted one red and one green, and I was away.

Opening the front doors I would explain that this box was really a cave in which lived a genii, and in this cave he had two large jars, a red one and a green one, and here I showed the tins empty—really empty.

The genii was represented by a silk handkerchief, and as it was a red handkerchief he must have been a red genii, and he used to spend most of his time in the red jar. I would put him in the red tin and close the door.

Sometimes, of course, he got tired of the red jar, so if you went to call on him some day you wouldn't have to be surprised if you found him in the green jar. He hated people to look surprised, because geniis are supposed to be surprising.

Here I opened the door again and took the red silk out of the green can.

If you looked surprised he only took offence and poured himself back into the green tin, and slammed the door. Of course, the next time you visited him he would be in the red jar once more, and all would be well.


9. Thus making a little packet in your left hand, place the rubber band around and show the packet once more at the fingertips of the left hand.

10. It is now an easy matter to switch the packets. I throw the prepared packet into the air and catch it with the right hand. Immediately I give it to a spectator with the request to untie it, while I pocket the un-faked parcef, which I left in the left hand. When spectator unties the ribbons he will find them all attached lengthwise. The climax is surprising and colourful.

This part of the story was illustrated by the necessary actions, and I don't think I shall have to refer to any of the moves in this part of my description because they are pretty obvious.

One day this genii was visited by another genii, who happened to be a green one, so it was quite natural that he should be given the green jar to sleep in when they closed the door and went to bed. Really, you never know where you are with geniis, because when they woke up the next morning there was the red one in the green jar, and the green one in the red. Most confusing. But the most amazing thing about it all was that, while one genii by himself is as much as any normal person can be expected to manage, when two get together then you really begin to see things.

Here I would make a quick production of silks and so on from both tins.

Well, of course, there were two tins at the front, and two tins at the back. The two at the back were loaded with whatever I intended to produce at the finsh, then on top of the loads I put a green siik in the red tin, and a red si Ik in the green tin. The only other preparation was to have a second pair of si Iks handy.

It seems almost superfluous for me to go through all the details of the routine, but I suppose I had better do so, or someone will not be satisfied. Here goes then.

Stage one: show both the visible tins empty, then put the red silk in the red tin. close the door, and rotate the panel. Now you can open the door and take out the red silk from the top of the green tin. Replace the red in the top of the green tin (it is not required of the story that you should show the tins to be empty at this stage), close the door and turn the panel again. This brings you back to the status quo, and also to the part of the story where you introduce the green silk. This is placed in the green tin. the door closed, the panel rotated, and you are all set for the finale.

I know that you will find this to be a successful routine, and I strongly recommend you to try it out. The audience is quite amused at the various goings on and pleasantly surprised at the finish.


The principle used is not exactly new, but the routine and effect is. Three cut-out motor cars are shown to the audience and placed upon a stand. Each car is of a different colour, say, one green, one blue and one red. Three cut-out garages are also shown, these are coloured to match the cars, green, blue and red respectively. Each is placed in front of its matching car. At the conclusion of the effect all three cars are found to be behind one garage.

A wooden stand, with the necessary slots is responsible for the effect. Perusal of the accompanying sketch will show that there is one long slot at the front of the stand. This is for the three garages, side by side. Behind that one sfot sufficient to take one car, and still further back another slot extending to the right and occupying about two thirds of the length of the stand. Lastly, and at the back of the stand is a fourth slot, the same length as the previous mentioned one, but extending to the left. The slots are much closer together than is shown in the sketch, which has slightly exaggerated them for the sake of clearness.

In presentation, the cars are placed one at a time into the slots in the stand, the appearance being that they are all in the same slot, whereas, of course, they occupy different ones. Once the cars are in position, the garages are placed one to the right, one to the left and the situation is that now the two outside cars are hidden, AND THE GARAGES PARTLY HIDE THE CENTRE CAR. You take up the third garage and find you cannot get it into position, so, naturally you push the other two garages outwards a little, with the centre garage in front of the gap.

During this positioning, the outer cars, well covered, are moved in towards the centre, so that all three cars are lined up one behind the other. Eventually you just manage to make room for the third garage, and complete the (apparent) preliminaries! At the conclusion, the outer garages are removed to disciose the disappearance of their respective cars, and finally the centre garage is removed, and one by one you display the three cars.

G-ARACrES (Cot Out

For patter you can describe how three neighbours built garages to match the colour of their cars, the garages being built in a field. "Normally, I use a field for this trick, but as I could not get the field inside the hall, we will use this stand instead". Here the cars and garages are placed in position, as described above. Next morning, when they arrived to collect their cars, guess what had happened. No. 1. opened his garage to find that his car had vanished, and No. 2. did likewise. Then both of them went over to the centre garage, and there were all three cars in the one building.


" Thank you very much for Flower Queen safety received. Let me say that I am highly pleased with it".

PERCY DENTON. (Barnsley Magic Circle).

Open Letter to Robert Harbin

Dear Bob,

I think this trick that I am about to explain is terrific, sensational, colossal and even good.

The magician shows two cans. I believe they call them tins in England. Over in the States the most popular and best beer is Schfitz. So we use the Schlitz beer cans for this trick. In one can we have a glass, this we call Can A. The other can is shown to be empty. We call this Can B. In Can A with the glass, we show that the glass is absolutely empty and placed to the right. Can B, the empty can, with no glass—we fill with milk.

Then we go through the old routine of saying "What's in Can A, What's in Can B", and get all the laughs that we can by using that hoary chestnut. "I'll transpose the glass with the milk and now the hard way. 'I'll put it back", just the way they were, but of course we do not show what's in each can. Just when they are expecting that Can A with the glass (empty glass) is still as is, we pick it up and show that the glass has vanished from that can and that it is full of milk, which we pour into a glass, and the can that we poured the milk in, and which was shown empty and devoid of any glasses, now is shown to be (even after we have poured milk into it)—devoid of any milk and has the empty glass in it.

Explanation you say? Quite simple. You use two Milko cans, with real glasses in it but these Milko cans are a little bit different from the ordinary Milko cans. The inner tube of each can has a bottom soldered to it, so there is milk in Can A. which has been poured in

Class Showm Empty By fÍA/s/A/¿; Can.

before the show, but you can still raise the can and show the empty glass, without exposing the liquid in the can. See sketch. And you can show Can B. by having the little finger hold the glass in, while you show the inside of the can. Naturally with the bottom soldered in the inner tube, all they can see is an empty can.

Naturally when you pour the milk in it you use a Himber milk pitcher (did Himber invent the milk picture? Cee I didn't know that). Well, now you know. And if you haven't got a Himber milk pitcher get one from Max Andrews. Incidentally, when you see Max, tell him that I am sending him a couple of beer cans to use as illustrations.

Yours, until Robert Orben quits writing Patter books.

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