Production Tubes

T/ie ¿o*.cL Contcutier (¿Aown <zhove) /s frta-dfZ square artcL fifte base cola. Ae hrnjecL /o one stdc, so that, aFter th<Z Jhrro cLcoc ¿/an. âÂfi taoes ccui be jrAown c/ean through. cmcL emjbtif

tube, and these two inside the larger or outer tube. With due care, it should be possible to lift the three Together by gripping them along one of the top edges and transporting them to the table on which the effect is to be shown. At rhe conclusion of the production, the thre'e could again be lifted as one, to set the apparatus on one side.

With the container duly loaded, the performer raises the outer tube, and shows it end on to rhe audience, replacing it over the inner tube, and then in turn he removes the latter and shows that empty too. From then on, the production proceeds, with, perhaps, an odd interruption to again show the tubes in turn.

At the end of the production THE TWO TUBES ARE TAKEN TOGETHER, AND SHOWN END ON TO THE AUDIENCE, a clear view being obtained from end to end. This is accomplished by having the base of the container hinged to fold up to one of the sides, thus transforming the box irself into a tube.

(NOTE.—No sizes are given, these being left to the requirements of the performer, but, always keeping in mind that the tubes need to be handled easily and the performer's means of transportation is to be considered, then very large 'srage-sized' tubes may be constructed, and a mammoth load produced. At the other end of the scale, the concert performer may deem four to six inch square tubes large enough, but whatever size is desired, it will be advisable to commence with the construction of the container, making it of a size to hold the available load, and then to build the inner and outer tubes around it. I have an eye to making this a 'Compere's item', and I think I shall make a model, maybe in cardboard, small enough to stand upon the palm of the hand. I shall show the outer, then the inner, tubes and maybe I shall produce silks of colours appropriate to a patter theme. Having produced all the silks, I shall swing the hinged base of the container up against one side, and, not only shall I show clean through the two tubes, but, I hope, be able to collapse the whole apparatus flat! I think it can be done by having the tubes and the container cloth hinged, don't you ? — George Blake).

I ¥isiil¡ The IMIagk lisle by MAX ANDREWS

To receive an invitation from His Excellency, Dr. Sir Alexander Cannon to visit him in the Isle of Man is almost like a command performance . . . one dare not miss it.

As I have been trying to find time for a long while past to visit this enchanting place, it was with great pleasure that I learned thac I was to go as a member of the Flying Sorcerers Party to ceiebrate the inauguration of Good-liffe as this year's President.

The World's most exclusive magical society, (one has to fly the Atlantic to an American convention to be eligible for membership) were to present an enrertainment there on the Sunday evening.

John Ramsay left from Prestwick Airport, Goodliffe, Tom Harris, Burtini, Donald Crombie from Birmingham Airport. I was meeting Francis Haxton in London and flying ro Manchester to meet Geoffrey Buckingham, and from there the three of us would arrive at the Island. We met interminable delays at the airport and one 'plane after another in succession was found ro be not airworthy for one reason or another. It was nearly eleven o'clock before we got away, having arrived at the airport at about seven-thirty a.m. When we got to Manchester, we found we were too late ro catch a connecting 'plane over to the island and were faced with the prospect of not leaving again until very late in the afternoon. However, by means of our magic, and our abilities to impress the airport officials with our imporcant journey, we were able to make arrangements for the Belfast 'plane to touch down at the Island on its afternoon flight and so it was we arrived at about tea-time. We were met by Dr. Tom Hardy and Tom Morley with cars and were whisked away to Laureston Mansion House.

This is a most arresting place and as one drives in through the enormous pillars (in grey stone) of rhe entrance, seeing the gates all in wrought iron with their coats of arms, one is very much impressed. The house is built fike a fortress in stone, and looks as though it has been there for hundreds of years and will go on for hundreds more. As soon as one enters the front door one really enrers into another world, and it has an atmosphere all its own. Almost all the furnishings are works of art mostly of Eastern origin, and exquisite carvings, beautiful statues, bronze buddhas and idols meet one in every direction. Dr. Cannon runs the Isle of Man Clinic, and his patients come to him from all over the world, by recommendation. He has a number of patients living at the house who come to stay there for periods of a few weeks up to several months, in order to take on the particular treatment for which he is so renowned.

In the grounds of the house, rhe doctor has built the Enchanted Hall, which is a private theatre capable of seating about one-hundred-and-fifty people. Apart from the fact thar it is beautifully equipped, the theatre is unique in the fact that it looks more like a museum than a theatre. All round the sides of the auditorium, are beautiful cabinets, gorgeous screens inlaid wirh mother of pearl, wonderful carvings in gold coloured metal and tremendous figures of Buddha, Eastern, Indian and Tibetan carvings. There is also a gallery running round part of the theatre in which are larger carvings, some in ivory. Also gorgeous Chinese Tapestries are hung on the various walls.

The Show on Saturday evening was presented by the Magicians of Mann. Cus A'ligan opened the show and presented a variery of effects very nicely, and was followed by Bill Mitchell whose offering consisted mainly of card effects. Richard Wilson and John Teggins the two youngest members of the Society, presented a double act, with the help of two spectators, and scored many laughs, making good enrertainment, which is after all, the main thing. Alan Gill, also a young member, worked through his act with smooth confidence. He presented an unusual routine with a production box, and finished with the production of what surely must be the largest live rabbit I have ever seen! It was a monster, and must have weighed a number of pounds, being pure white with short fur. I learned in conversation afterwards, that Alan is a Rabbit Trapper by trade, and he assures me that rabbits like this can be caught there in the wild state. No doubt there will be an influx of magical visitors to the island this Summer Season, with the intention of combining business with pleasure.

Top Left, View of the Theatre with His Excellency the Governor and Lady Dundas in front. Top Centre, H.E. Dr. Sir Alexander Cannon. Top Right, Goodliffe, Compering. Bottom Left, The Flying Sorcerers with the Isle of Mann Magicians, watching the film of Geoffrey Buckingham's act. Bottom Right, Max Andrews performing for the first time the Controlled Bell "Radio Phor.ie". Sorry we have not space for more of these interesting pictures.

Top Left, View of the Theatre with His Excellency the Governor and Lady Dundas in front. Top Centre, H.E. Dr. Sir Alexander Cannon. Top Right, Goodliffe, Compering. Bottom Left, The Flying Sorcerers with the Isle of Mann Magicians, watching the film of Geoffrey Buckingham's act. Bottom Right, Max Andrews performing for the first time the Controlled Bell "Radio Phor.ie". Sorry we have not space for more of these interesting pictures.

Geoffrey Buckingham then appeared to present in full the delightful act that won him the Grand Prix, Paris, 1951 and made his name famous round the world.

Tom Hardy followed, and his outstanding effect was of his own origination, an original twist on the Egg Bag, with green bag and golf ball, etc. H.E. Dr. Sir Alexander Cannon appeared to close the bill, and mysteriously presented several intriguing effects, in his own inimitable manner.

I should have mentioned that the proceedings were started by the presentation via a tape recorder, of a splendid fetter from Dr. Harlan Tarbell (of U.S.A.) voicing his appreciation of his visit to the I.O.M. and his delight in meeting a kindred spirit in Dr. Cannon A constantly changing light scena accompanied this and the myriads of fairy lights round the stage, combined with transformations by black light, gave the most lovely effect.

Sunday morning was partly taken with my demonstration to the boys of some of our latest effects, in the privacy of the doctor's library. This is the place where the most interesting of his records are kept. A huge Chinese tapestry embroidered in gold and over one hundred years old, showed that even then che design of the swastika was welí known. Large frames housed such important things as the letters patent granting his titles, the ribbons and insignias of the order, and illuminated addresses, certificates of merit, and memberships of almost every occult Society in the world.

(Continued on Page 340)

FLAME HAS NO FURY"

by EDDIE JOSEPH

The plot here is straight and simple. It has to do with the apparent burning and sub-sequenr restoration of a marked and borrowed note. This item from my personal repertoire differs in many respects from the orthodox manner of handling effects of this nature, as will be seen presently. The different stages of the proceedings as viewed by the spectators are as follows.

The magician calls for the loan of a note. When one is tendered, the owner is asked to bring it forward. Before accepting the money, the magician hands the lender a leather folder with the request thar he retain it by way of indemnity against any possible mishap.

In order to preclude any likely supposition at a later stage of the trick, that the lender of the note was in collusion with the magician, anyone else in the audience is invited to mark the proffered money for easy identification.

The note is now slid—in its natural flat and open state into an envelope and destroyed. The mutilated pieces are handed to the owner. A little lighter fluid is now poured into an ashtray and a fit match applied. Into the leaping flame the owner is asked to drop the remnants of his note. The fire soon consumes them all. In due course, the owner of the note is asked to open the folder which was in his possession before the proceedings began. Through the transparent window is seen the note reposing unhurt and secured with cross rubber bands. It is verified, by the person who placed the identification mark, as well as the owner of the money, to be the identical note they had seen destroyed a moment ago.

While nothing novel can be claimed in the effect itself; the manner of handling the different stages of the proceedings possess certain elements of superiority over the usual standard method. To begin with, I had often wondered why we have to fold a note into a small compass and then insert it into a letter size envelope prior to its destruction. It is obvious to the onlookers that the envelope is of a size to admit the note without all this additional effort, if 'FLAME HAS NO FURY', possesses no other feature, except the one I am about to detail for the destruction of the note—you wilf, I know, still regard it as a worth while item.

REQUIREMENTS.—A leather or plastic folder with a transparent inner celluloid window. Its original purpose is to take one's personal identity card. Take a pound note and fold it three times. Slip two rubber bands over it in crosswise fashion. Slide the note behind the window. Now take a heavy rubber band and twisr this over the two sides of the folder so thar the same band goes around both its width and length.

Get a long commercial envelope which in size should be 9" x 4". It is a standard product and obtainable also at Woolworths. The envelope, incidentally, must be the kind with the flap at one end. Fig. 1. Insert a piece of cardboard inside the envelope and lay it in front of you with the flap on the under side. With a razor blade cut a clean slit across the width of the envelope—in the centre—of the the address side to within a quarter of an inch from each edge. Fig. 2. The cardboard piece is, of course, withdrawn when it has served its purpose.

The other requisites are a match box, ashtray and some fighter fluid. The fluid may be in the ashtray ready before you start and the matchbox in your right trouser pocket.

PRESENTATION.—Call for the loan of a note. When someone offers one ask him to bring it forward. Before taking the note, you bring out rhe leather folder from your pocket where it had been previously placed and pass to your volunteer. Ask him to secure it in his pocket. Take the note from him and hofd it at your extreme finger tips. Look to wards your RIGHT and ask who would like to mark the money. Pass the note out to the person who offers to co-operate.

After the identification mark has been placed on the note you take it away and hold in your right hand. Pick up the envelope with your left. Hold the envelope vertically with opening at top and your first finger resting on the address side which the spectators do not see. The precise point of contact for the first finger tip must be a little below the slit. Gently lower the note into the envelope. As the note is being pushed in the first finger at back of envelope presses forward and conse-qently the lower end of the note emerges through the slit at the back.

The volunteer is, of course, standing nearby and all you have to do is to see that he does nor get a view of the back of envelope. After the note is pushed in flush with the top edge of the flap opening about an inch and a half of it will be protruding outside the slit at the back.

You now hold the envelope between both hands with both thumbs behind resting on the end of the note and fingers in front. Ask volunteer to stick out his tongue and you pass the gummed edge of flap across it. The envelope is now sealed.

At this point you hold the envelope by one corner in front of a light and the note can be seen distinctly and convincingly inside the envelope. From this point the destruction of the note begins

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