The errand boy

by ALEX McKEOWN

(An Evaporated Mi3k Routine for juvenile audiences).

Once upon a time rhere was a little boy (the performer begins) who's mother wanted him to bring some milk, because her milk can was quite empty. At the same time, she said, he had better bring a newspaper for his father. Mother gave him a nice clean glass for the milk, and to keep the dusr out she told him to use this cover, a paper bag.

On the way he saw a procession, and being what he was, a littfe boy, he stayed to watch it. But he was so small in that large crowd thar he could not possibly see anything of the procession. Then he got an idea. He would stand on the glass ! That was foolish of him, because immediately he put his foot on the glass, crack it went !

He picked up the cover but the pieces of glass were gone, and, like you girfs and boys, he was very much surprised. He decided that he had better go quickly and get his father's newspaper—oh; and the milk! Here is the newspaper, and there in the jug, is the milk. But what can he use to carry the milk, now that the glass has gone?

Then he remembered seeing a shopkeeper make a paper bag, like this. He told ihe milkman that he was a Magic Boy (he remembered the glass that vanished) and he persuaded the milkman to pour the milk into the paper cone. Off he went with the mifk, and the newspaper, but when father opened rhe paper, he found that the milk was gone. His father was so annoyed that he tore up the newspaper.

The little boy said "Mummy, I am a Magic Boy, I will get the milk back for you", and he placed this empty glass in mother's milk can, saying the magic words "Milky, milky, nice and silky", and see, here is the milk! When daddy opened out his newspaper he found that it was whole again.

"Now", said the little boy, "all we need is the glass that vanished, and here it is, in mother's milk can".

Effects required:— Annihilated Class Effect. Evaporated Milk Jug. Say When, Torn and Restored Newspaper. Celluloid Bottomless Tumbler from the can, or this could be produced from a previously shown ghost tube.

A SMOOTH LIVING and DEAD TEST

by EDMUND ROWLAND

The following test is one of those in which several names are written on separate pieces of paper. These are apparently identical in every respect, but one of them can be secretly recognised by the performer who must therefore arrange for it to be the sfip on which the "dead" name is written.

The following method of distinguishing it is really an unusual version of the rough and smooth principle which is usually applied to playing cards.

Each of rhe slips is made from two similar pieces of paper. In every sfip but one the pieces are firmly glued together so that they cannot move apart when the slip is rubbed between your finger and thumb. But in making rhe remaining slip, the inner surfaces are treated with fanning powder and the papers are giued together only along their edges, so that they will easily slide against each other when the centre of this particular slip is rubbed between your finger and thumb like the rest.

This can be done as each slip is picked up and the name read out to the rest of the audience. The movement need only be a very slight one, and it can be most easily detected with thin glossy paper.

Ir will often cause a few creases to appear in one or both sides of the dead name slip. This will not be noticed, however, if each sfip is crumpled up and thrown away as soon as you have read the name that is on it, or if each spectator is asked to crumple his own slip into a ball before it is collected. The latter precaution is probably the better for, by breaking the natural stiffness of the paper, it will usualfy make it easier for the separate pieces of the dead name slip to move against each other at the centre.

If your skin is abnormally dry, it may be necessary for you to moisten the tips of your finger and thumb before you test the slips. But if you want to return the dead name slip to the spectator who wrote on it, you must then be careful not to leave an unsightly fingerprint or thumbprint on it

Charaiin by JOHNNY CEDDES

Two stands are shown. They rest one on each of two tables or, if necessary, on each side of a single table. One stand depicts a dungeon and the other a castle.

A large jumbo Card bearing rhe picture of a Prince Charming is shown. You explain that one night enemies from a foreign country decided to kidnap him from his castle. The card is placed in the castle and then removed from there, opening the front and back doors to do so.

He is taken over to the dungeon, where rhe front and back doors are opened to show the interior, but, you explain, the kidnappers were in such a hurry to get him in that they pushed him in through the skylight.

In the castle the King and his servants were all worried as ro where the Prince had gone, but do as they would they could not find him. Front and back doors are opened to show the castle empty.

In the dungeon the Prince was feeling very low. Open the door to show that he is really there. Take him our while you call attention to how miserable he looks, then, closing the door place him in via the skylight.

A well known magician was called in to the castle to see if he could help bring back the Prince, and he soon discovered that he was a prisoner in the dungeon. So he used his magic powers to bring him back and after a short time he succeeded, for the doors of the dungeon are opened and there is no Prince Charming, but opening the front door of the casrfe he is seen to have returned.

Method.—The dungeon has a normal door at the front but the back door is double.

Two slots are in the top of the dungeon, one slot taking the card into the dungeon proper and the other allowing the card to drop inside the double door, thus bringing about the vanish.

The first time the card is dropped in (via the "skylight") it goes through rhe front slot and into rhe dungeon. The next time it is placed in the rear slot and into the door.

The castle doors are unfaked, but a duplicate card is attached to the inside of the rear door. This door is aways opened first to show the castle empty, except on the last showing, when the front door is opened first, the card removed and the rear door then opened.

"JHlmost in Qonfidenee"

by VICTOR FARELLI

THE DOUBLE CARD TURN-OVER (Continued from the Previous Issue)

Gentlemen,

In writing the following instructions, I assume that the reader has studied those given in the November issue of this magazine.

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