Edmonton, Canada.

July 16th., 1956

Mr. Max Andrews, 10/11 Archer Street, Piccadilly, London, W.l.

Dear Mr. Andrews,

A year ago this last January, I had the pleasure of meeting you and Mr. Lenz at your Studio, when I was on a visit to England, and I wish to again express my appreciation for your kind hospitality, and the effects that I purchased from you I was very satisfied with, and the Catalogue I obtained is of course now out of date, I am enclosing Bank Money Order for £1 to cover the cost of your 1956 Catalogue, which I would like you to forward by ordinary Mail and for an Air Mail reply regarding the enclosed list of effects which I wish to obtain as soon as possible. As soon as I receive a reply from you I will forward a Bank Money Order for the cost of these effects by return Air Mail.

I thought that you would be interested to learn something of the magical activities in this part of Canada, and just across the Border in the U.S.A. I am a member of Ring 28, with 22 members, two thirds of the members being quite active. We also sponsor a Junior Magic organization for boys between 14 and 16. They call themselves the "Mystic Circle" with a membership of 10. The object of the group is to promote a greater interest in the Art, and to prepare some new "blood" for our senior organization, so that when they reach the age of 18 they will be eligible to join the I.B.M. They meet for instruction by myself every Sunday afternoon for about two hours.

At our Annual Convention, we usually have between 60 and 70 members attend with their families and friends. They are mainly from Rings located in Edmondton, Calgary, (where the Convention was held last year). Saskatoon, Great Falls and Winnipeg, with also a good attendance from the smaller towns, and of course, we all enjoy a very hap'py time.

I would like to get in a few days practice with these effects before the Convention, that is why I am ordering in good time.



A Capricious Combination"

No matter what particular type of magic one favours, a few impromptu tricks when included amongst other acquisitions wiii invariably yield good publicity dividends. My offering this month fits into the present category.

With a borrowed ring and coin the magician proceeds to create a succession of mysteries which cannot be fathomed even at close range. You proceed as follows.

Stretch out your left hand and ask for the loan of a finger ring. The owner naturally drops his property on to your hand. You now say that in order to make your work more difficult, you would also like to borrow some money. Let us suppose, some trusting spectator offers you a penny. You now have the ring and the coin on your hand as depicted in Fig. 1. Note particularly that the penny in our photograph is resting nearer the tips of the first two fingers.

The fingers are now squarely closed over the two articles. However, this is what the spectators are led to believe for, in truth, by reason of the fact that the coin was conveniently set on the finger tips, the natural action of forming a fist will take it into the crotch of the thumb. Fig. 2 illustrates the position of the fingers just prior to closing . As you begin to close the fingers, be sure to turn the hand so as to bring the knuckles on the top side. This turning action will considerably facilitate the coin finding the right spot.

Now after you close your fingers into a fist, you look at some spectator and ask him to advance and grasp your wrist. You illustrate your point by grasping the wrist of the closed hand with the fingers of the right.

As innocent as this gesture may seem you will have already achieved your first secret action of 'shooting' the coin up the right sleeve. This may appear too daring when you read it but in actual operation it defies detection. The two hands approach each other. The left fingers loosen the tension on the coin. The coin darts out from near the thumb end of fist during the motion of the hand and directly into the right sleeve. Fig. 3 is an exposed view of the coin about to enter the sleeve. The right fingers as you see are about to get hold of the wrist. In action the coin is actually shot up the sleeve BEFORE the right fingers grasp the left wrist.

NOTE.—We regret that, at the last moment it was found that the blocks for Figures 1 and 2 were spoiled and therefore unusable. We feel sure however that readers will be able to follow Eddie's clear instructions and that the omission of Figs. 1 and 2 will not seriously mar their enjoyment of the effect.

When the spectator presents himself alongside of you he would in compliance with your instructions naturally take told of your wrist. At this point you turn your right hand with the palm side exposed and point at the left. Fig. 4 will explain this. The reason for exposing the interior of the hand is to satisfy by implication that both the articles are still contained within the closed fingers of the left.

You now ask the helper if he is sure of what you have within the fist he is guarding so closely. When he declares the two, you open out your fingers and expose the ring by itself. The coin, from all appearances has vanished.

You blame the assistant for not doing his duty well and call up another spectator and make him stand on your right side. Now the left simulates the action of dropping the ring on to the right fingers. The ring is really held back by slight tension of the left fingers. The fingers of the right hand are closed at the same time as though over the ring. Fig 5 in our series is an exposed shot to show the pretended action of transferring the ring into the other hand.

The ring is, of course, hidden behind the left fingers. From here both hands must work simultaneously. With the left you reach inside the coat for the ostensible purpose of withdrawing a pencil.

In truth, when the hand reaches out of sight, you drop the ring into the armhole and bring out the pencil. While the left hand is thus engaged, you advance the right in the direction of an imaginary arc towards the new assistant. As you do this you ask him to grab your wrist adding at the same time "perhaps you will do better". What I mean by 'in direction of an imaginary arc' is to move your hand in line of motion of a curve as it is advanced

towards assistant. This action will force the hidden coin in the sleeve to fall out into the hand. The action, apart from being subtle is naturally deceptive. When in motion the fingers have to open out slightly for the coin to enter the hand.

The ring will now be inside the sleeve but presumed to be in the closed hand. Now push the free end of the pencil into your fist as in Fig. 6. Ask the assistant if he can tell what you have inside. He would say the ring, of course. Turn the hand over and open out slowly to perpetrate the second surprise. The coin instead of the ring. See Fig. 7.

Now lay the coin on the back of the left as you see in Fig. 8. This hand still has the pencil. The right now takes it away and drops to the side. This will cause the ring to slide out of the sleeve and it is caught in the fingers. The left hand in the meantime is extended towards the assistant who is asked to pick up the coin.

The pencil is now passed to the left hand and the right fingers then close again as before. The pencil is next pushed into the fist. The closed hand with the pencil is then turned over to bring the knuckles parallel with the floor. The two assistants are asked to hold the ends of the pencil. You suddenly drag your fingers across and complete the climax by leaving the unexpected ring spinning merrily on the pencil.



Don't let the title put you off . . . for here is a routine for the children's entertainer, and, I'll bet my last two bob, one that will be well used. You have very little to make as most of the items used will already be in your possession.

Open the cupboard and take out the following items : Max Andrews Changing Box, One Mickey Mouse Silk, a Flat Changing Bag and four silks, colours, one red, one blue, one white and one yellow.

Now make up a small banner about 12" wide 15" long, which reads, "AND I'M MINNIE", this banner may be rolled up and painted black with white tips to represent a small wand. On this attach a hook. Finally you will require six cards, business size, on which you have printed "Mickey Mouse" and another six on which different names are printed. The ones I actually use are:— Mickey Mouse, Dan Dare, Red Riding Hood, Dennis the Menace, Bonzo and Salty Sam.

Preparation is simple. Place the Mickey Mouse silk in one end of the changing box. The six force cards are put into one side of the flat changing bag. The coloured silks, the indifferent cards and the banner are lying ready for use.

A girl is asked up to assist you, and she is handed the four different coloured silks. (I should add that the reason for these four coloured silks, is that these are the colours which go to make up the Mickey Mouse silk). She shouts out the colours of each as she hands them to you one at a time. As they are handed to you shout, "CORRECT". Once you have the four silks in your hand, ask the children if she has named them correctly. This having been confirmed, take the silks and lay them on her shoulder with some remark such as, "they'll just keep you from flying away".

Bring forward the changing bag and the six indifferent cards, hand them to her, and ask her to read out the names on each card, then to drop them one at a time into the bag, which you have, of course, previously shown to be empty.

Now when she reads out a name, you can always put in some crack about each name, such as when she shouts Dan Dare, you move in and say, "Ah Mickey Mouse's Mother", when she reads out Salty Sam, you reply, "Little Bo-Peep's Father", you will find that what may sound absolutely silly and stupid to you will draw a laugh from the kids, and one other good point is that, you will not lose the attention of the children while she is reading out names, for they sit back and wait to hear what other stupid replies this clot of a conjuror has for the names. With the cards all placed into the bag, close it up and shake it for all you're worth.

She is now asked to select one of the cards, but you, you crafty blighter, have changed the bag over so that she is compelled to take one of the force cards, namely Mickey Mouse. This she is asked to look at, BUT NOT TO SAY WHAT IS ON THE CARD OR SHOW IT TO ANYONE ... for it's a secret.

The bag is laid aside and you pick up the changing box, take off the end (empty end, of course) ask her to take the silks from her shoulder, and place them down into the box. This she does, and the lid is replaced.

Now pick up the banner, (as far as the audience are concerned it is a wand) and give the girl the box to hold in one hand. The card is in her other hand, so she cannot look into the box or get too nosey.

You ask her for a magic word, no matter what it is, use it, for she then gets the credit at the end of the trick. The box is given the usual taps, then you tap her hand which contains the card, using her suggested magic word.

Now for the placing of the banner. You then ask her, for the first time to shout the name that is on her card, at the same time taking the box back from her, reversing it while doing so. She shouts out the name, but you make a pretence that it is not loud enough, so you give her a slight push forward, this now gives you the opportunity to hang the banner and allow it to unroll down her back, for whilst you have been pushing her for ward, you have at the same time been fixing the banner to her back, you crafty blighter, you.. Once she has repeated the name of Mickey Mouse, you ask if that is correct at the same time, looking at the card in her hand, so you will see that you have plenty of time and opportunity of hanging the banner on her back.

You now ask her to take off the lid of the box, whilst you still hold it, needless to say. This she does, turn the box upside down and shake out the silk into your hand, no need to show the box empty, this upside down method of obtaining the silk clears any suspicion. The box is laid aside, and you open out the Mickey Mouse Silk, proving that her magic word was effective, for you have changed four silks into one Mickey Mouse silk, which was the name she selected from the cards.

Get the children to applaud her efforts and while they are doing this, shake her hand and thank her, when you will get an opportunity to turn her round ... where they read "AND I'M MINNIE", this gftes you a double climax which really goes over. Obviously this not an effect for repeat engagements, BUT, it is simple to have an alternative, and mine is to use the RED RIDING HOOD SILK. The only difference is that your force cards should read Red Riding Hood, the same silks (4 colours) may be used. Regarding a banner, you will have to have another made up about 14" wide and 18" long, and this reads . . . "AND I'M THE BIG BAD WOLF". This, of course, brings you one main difference, a boy should be used for this particular routine, as the Wolf is much more appropriate in this case.

As there are plenty of Picture Silks available from 10/11 Archer Street, London, W.I., you can vary the final effect as often as you wish.

"The Twenty-I


The Effect. A pack of cards is shown, each bearing the picture of a signpost. A card is chosen by a member of the audience, who marks one of the four place names shown thereon. It is then laid face downwards on the table. Immediately the performer is able to give the name of the selected place.

There is no sleight of hand required and no memorising.

Presentation. Fan the pack to show the names on the cards. Holding the pack face downwards invite someone to take a card. Then handing them a small paper clip ask them to place it opposite one of the names. Having done this to place the card down on the table. Take up the pack and discover the name chosen in the manner described hereafter. Open the pack at the correct place and receive back the selected card. The effect can be repeated as often as desired.

Suggested Patter. Ladies and Gentlemen, I have here twenty five cards, each one representing a signpost and bearing the names of four different places. There are therefore one hundred in all. Some are well known and some are little known. They extend from Iceland to Australia and from California to India.

:ive Signposts"

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