## Prediction Superb

(SECOND OF A SERIES)

by PETER A. McDONALD

This effect is capable of being built up into a stage or cabaret feature, and the advantage is that the props employed are already in the magical cupboards of most performers. With adequate showmanship it can be made a sensational effect.

In effect, the magician shows a wooden box standing on the table. The front flap lifts up and inside can be seen another smaller box secured with elastic bands. The flap is lowered momentarily and a pack of cards is handed to a spectator who is asked to cut the pack and deal off six cards into the magician's hands. These six cards are now placed backs outwards on a small stand. The spectator is asked to remove one card and without showing its face, he himself places it in some conspicuous position. He is now asked to turn each of the remaining five cards faces to the audience. Pointing out that the spectator could have selected any one of these cards instead of the one which he did select, the magician reaches inside the wooden box and removes the corded box which he hands to a second spectator. This spectator is asked to open the box. A smaller box, similarly secured with elastic bands is found inside it; inside this is a small bag, secured at the neck by elastic bands. When this is opened the spectator finds a coin inside it on one face of which is attached a miniature replica of a playing-card. He is asked to announce what card is attached to the coin. The'first spectator then turns his card face-up and finds that his selected card is the same as the miniature on the coin!

This, you will agree, is a neat and novel form of prediction and it seems impossible that the magician should be able to know in advance which card the spectator will select. There is nothing at all difficult about the working and therefore all the attention can be paid to presentation. The vital moves are done "offbeat" and are therefore not detected.

To perform the effect you need a pack of cards composed of six different cards repeated eight times. The cards should be arranged in the same order throughout. The order need not be memorised but you shou'd know the first card in the set-up. Also required are six miniature cards . . . replicas of the six cards contained in the pack. These can be cut out of thin card or ordinary paper. They must be affixed firmly and smoothly to the coins . . . one card to each coin. Finally you need Max's "Magic Box" effect (price 3/6) .. . the apparatus necessary to reproduce a vanished coin inside a bag in a banded matchbox in a banded box. A large cardboard box is faked so that the slide supplied with Max's outfit projects through a slit in the back. The front flap is hinged at the top so that when it is lifted slightly the banded box can be seen inside without the slide being visible.

The working must now be fairly obvious. The coins are arranged in a row behind the cardboard box in such a way that the small replicas attached to the coins are in the same order as the six cards in the stacked pack. The "Magic Box" is placed inside the cardboard box and the slide is allowed to project at the back.

The set-up pack is now introduced and a spectator cuts it and deals six cards onto the table. These will all be different and they may not be in the order you desire. However, it is simple to adjust them. Just cut the packet of six once, looking at the faces if need be, making sure that the first card in the set-up comes to the top. When this has been done the remaining cards will be in the correct order.

Place them, backs to the audience, in the card-stand. Be careful which way you deal the cards . . . they must lie in the same order on the stand as the replicas on the coins lie.

The spectator is asked to remove one card from the stand and place it in some conspicuous place. He is told not to look at it for the time being. As soon as he picks the card up, you pick up the coin in the corresponding position and drop it down the slide, withdrawing the slide as soon as the coin is safely loaded. As far as you are concerned the trick is now over.

You remove the banded nest of boxes from the cardboard box and hand the "nest" to a spectator. The front flap of the cardboard box swings down again as soon as the box is removed and no-one can therefore see the slit in the rear.

To build up suspense and to emphasise the fact that the choice has been free, the spectator is asked to show the faces of the five cards left on the stand. They are all different. The spectator holding the boxes now opens them all and finds the bag in the centre. Untying the elastic band from the neck he finds inside it a coin. On the coin is the replica of a card. He reveals its identity. The freely selected card is then turned face to the audience and is seen to be the same as the miniature on the coin.

A prediction with a novel twist. Everything seems quite fair, square and above board.

"NORMAL

There is always room for the unspoken and, so far as the performer goes, the unnoticed gag in almost any type of programme. The one I offer you here will never fail to ring the bell, yet you don't have to say a word.

We will assume that a trick has apparently gone wrong—I know that some magicians frown on this state of affairs, arguing from the psychological point of view that the audience either disbelieves such a situation, or thinks that the performer is a bungler. We won't go into that now, except to say that they don't know what they are missing in the technique of varying the audience appeaf—we will just take it that you do know your stuff. For guidance the poor magician turns to a large but slender volume entitled "How to do magic".

He opens it and flips through the pages. As he does so a silk banner, the width of the opened book, unfolds and hangs down in front. It is a copy of the well-known TV signal, "Normal Service will be resumed as soon as possible"

That's all there is to it, but it definitely clicks.

ERVICE"

By LEN BELCHER

banner.

banner.

I don't think much explanation is needed. The bottom end of the banner has several lengths of heavy wire sewn into the hem. To prepare, it is simply rolled up and tucked inside the book which is then closed. The pages are cut short as shown in the diagram, so that they hold the silk in position until the thumbs roll it up and over the edge so that it unfolds. As the banner does not have to be crumpled up the lettering can quite simply be painted on in a good quality enamel. You may also like to know that special types of fabric paints can be obtained from good Artists' Suppliers.

LOOPS with LOOPHOLES

by BILL WEST

EFFECT:—Knots appear or disappear at the behest of the performer, even when the rope is held by a spectator.

REQUIREMENTS:—A piece of soft rope about four feet long.

METHOD:—Rope is held in the left hand (palm uppermost). The bulk of the rope hanging down on the outside, rope running over the fingers, nipped by the thumb on to the first finger about seven inches along the rope.

This leaves a "tail" of about three inches hanging below the little finger, (figure 1).

The right hand takes the rope at approximately fifteen inches from the left hand hold, by running the hand down the rope and nipping it between the thumb and first finger. The right hand then moves over to the left, (right palm uppermost) and makes a loop by passing the right over the left with a half turn.

Left thumb now nips the two layers of rope, (figure 2 , hand is omitted for purpose of clarity in this and remaining diagrams), right hand takes the free end of rope and passes it through the base of loop from the front (figure 3), releases, and retakes it from the other side and extends the rope, and obviously there is no knot.

Having demonstrated so much, proceed to the next stage which is slightly different. Carry on as in the first stage and make the loop but do not release right hand hold of rope but slide the right hand about six inches along the rope (away from the loop) and then say that "This time we will turn the loop over", and with the right fore finger extended, turn the loop over by pushing from behind the nearest side of the loop and "carrying" it over for a half turn.

The fingers of the left hand will automatically adapt themselves to the new hold (Fig. 4). "Now", says performer, (taking free end again) "We have reversed our loop, and if we put the end through the loop from back to front (figure 5) we will still have no knots", performer suits actions to words and extends the rope, (loop is dropped by fingers 1 and 2 and rope held by fingers 3 and 4 nipping rope against palm), but of course this time a knot appears.

The foregoing is really the introduction to the trick and performer states the second method really does produce a knot, which however, can be vanished by magic, and repeats the second method without tying a knot.

There are two ways of disappearing the knot, the first method is: When the loop is turned over by the right forefinger and the left hand fingers adjust their position to hold the loop, see that the thumb (above) nips the rope between fingers 1 and 2 (below, and just inside the loop), then as the right hand places the free end through the loop, the third finger of the left hand moves round into the loop with fingers 1 and 2, the little finger being kept clear to allow the knot to run off the short "tail" when rope is extended.

The second method is used when the performer wishes to prove that there is no trickery at the "loop" end of rope. In this case proceed as far as the stage where the end of the rope is put through the loop by the right hand. At this stage the left hand is extended for someone to hold the "tail" end. The right hand having put the other end through the loop about two or three inches, follows it through with right forefinger and (instead of taking it on the other side by thumb and forefinger) bends the end back and this is taken by the tips of fingers 2 and 3 and the rope is then extended.

The whole operation from putting the end through the loop to the extending of the rope is done as one movement. The appearance of the rope in the hands at the end of where'

Magician enters and says he's very sorry but he won't be able to do his best trick as just before he left home he was trying a new magic spell out on his pet rabbit when it went wrong and the poor rabbit just vanished, and it would not be much good showing you that this empty Box/or/Hat, and telling you that the rabbit was in there, for unless you could see the rabbit you would think that I'm crazy ? ? Stiil as I've got to do something I suppose that I ought to put my clever little rabbit through his tricks.

Magician then takes out an invisible rabbit from the box, HERE if the show is for children he can show them the proper way to hold a rabbit?

The magician explains that he thinks that at some time or other they all must have seen the trick where a girl gets in a box on one side of the stage and then is found in a box on the other side of the stage, well believe it or not my rabbit can do that trick he says, here he shows two empty boxes or hats, places the invisible rabbit in one and says the magic words etc., here can be used the gag that it's quite easy to do the first part but it's harder to make the rabbit go back, (by now your audience is quite sure that you're round the bend).

each extension should be as similar as possible. Only a slight finger adjustment is necessary at the end of the extension to effect this, whichever vanish is used.

From the foregoing it will be observed that a spectator may hold first one end and then the other to make sure that no trickery occurs at either end! It will also be noticed that the performer can control it to such an extent that he can either have a large knot as in stage two, a small knot (by "undoing" both ends), or, no knot at all.

All the moves can be easily concealed and makes an ideal close-quarter effect, and a spectator may be given a duplicate rope to follow performer's moves with very different results.

But not to worry shooting those who disbelieve with your sausage gun, you bash on.

Magician says that before rabbit will go back to where he started he must give him a drink (at last you can use that Milk Bottle effect) then magician puts the still invisible rabbit back into box, says the magic words, goes over to other empty box, and takes out a lovely white (real fur ears and tail) rabbit. Saying thank goodness the magic spell has worn off at last.

Props.: Production Rabbit, or real one; Milk Bottle effect; Two Hats or Production Boxes.

Hope that you can make use of this Max, as it cou'd be used for either children, or grown ups, also has quite a lot of comedy as well.

There are many other effects you can do with an invisible rabbit before you produce it at the finish, such as in the Performing Fleas, etc.

Sincerely Yours in Magic,

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