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lady assistant. These are not always available, and the performer will find that if the off-stage lines are spoken by himself and the glass even has to be taken from the table he still has a startling effect. Table, carrying the piece of paper should be to the conjurer's immediate right.

There is a background of music throughout, played quietly and very slowly. Originally I used the tune " I feel so Tired that I could Sleep," but later changed to the lovely Jerome Kern melody " Long Ago and Far Away." The effect runs about two and a half to three minutes.

Presentation.—Long ago and far away I had a dream (this is spoken to the open bars of the theme music). I imagined I held a cone of paper just like this . . . (the cone is carried on by the conjurer who holds it at its periphory ; no attempt is made to show the inside, and no such move is necessary). Suddenly I heard a noise and I looked round to see the door of my room opening (performer turns his head right and assistant very slowly glides on to the stage, carrying in her right hand the glass of milk) and saw a figure carrying a glass of milk. She came towards me and handed me the glass (Assistant hands performer the glass which he takes with his right hand, she passes behind him, looks back, and walks off the stage). ■ I was certain that I was dreaming, for she walked away and out of my life forever. Performer looks after the figure). And then in the dream I heard a voice and it said (here the now off-stage assistant speaks into the microphone and says in a sepulchral voice) '4 Pour the milk into the cone." I obeyed (the conjurer commences to pour (?) from the glass ; when the action is complete he lifts the glass about a couple of inches and allows some of the milk to fall on to the cone. Because of the celluloid surface it simply runs off, and to the audience there is prima facie evidence that the cone is filled). Then once more I heard the voice and this time it said (from the loudspeaker comes) " Put down the glass and place a piece of paper over the mouth of the cone." Again I obeyed (conjurer places down the glass and picks up the piece of paper from the table. This he places over the mouth of the cone, pressing as he does so, the paper, thus becoming attached to the celluloid because of the adhesive). Again I heard the voice, and this time it said 4 4 Turn the cone upside down." Tremblingly I obeyed, and strange to relate not a drop of milk left the cone (at this point the conjurer carefully, but not gingerly, reverses the cone, holding the tip with his left hand fingers), and then for the last time I heard the voice, which said, sardonically, 44 I've seen something like this before ! " and I, in my zvaking moments said triumphantly . . . yes . . . but youve never seen this ! ! ! (As he says this the conjurer brings his right hand under the covered mouth of the cone, smashing the latter and throwing the crumpled paper into the wings.

2: WMow




My friend John Brearley will never let me forget this effect of my teen-age. The original effect was first presented at the London Polytechnic and later described in one of Percy Naldrett's " Collected Magic" series. As, however, it has never been published in complete form, and, realising that it is an opener that could be used with or without patter, here it is.

Effect.—The conjurer, after showing two willow patterned plates, places them down and takes two sheets of paper, one white and one blue. To the accompaniment of music he tears them into pieces ; the pieces are screwed into a ball. Holding this ball at his fingertips, he picks up with his other hand one of the willow pattern plates. On this he drops the ball of paper, and then lifting the remaining willow pattern plate, places it on top of the plate he is already holding, so that the ball of paper is imprisoned between the two. Holding the plates with both hands, he moves them gently over the flame of a candle. One willow pattern plate is lifted and the pattern is seen to have vanished. Taking the ball of paper he untwists it revealing the fact the pieces have been restored to form one large piece of blue tissue with a circular white centre which carries the willow pattern.

The effect is clean cut, it is (horrible word) pretty, and, best of all, the vanish of the pattern from the plate is accomplished in such a simple manner ... no shells, wires, etc.

Requirements.—Two willow pattern plates of, say, nine inches diameter. One of these is painted over with white porcelain paint. If the pattern goes right to the edge about a half-inch margin is left unpainted. Some blue and white tissue paper, a decorative candlestick (what wouldn't I give for the counterpart of the one shown in a recent photograph of Dunninger !) and a candle. From the white tissue cut two pieces of similar or slightly larger size to the willow pattern plate. These pieces are gummed at their edges and then when dry again gummed round the edge and placed in the centre of a full sheet of blue tissue. The reason that two pieces are used is that a pure white background results. One piece of white placed over blue looks dingy. On this circular piece of tissue is now painted quite roughly the pattern of the plate (with water colour). If you are no artist yourself it will not be hard to find someone who can perform this task. Unless it is intended for very close quarter work, it should not be carried out with too much regard for detail. This large blue sheet is, when dry, folded into the smallest possible compass and adapted to the torn and restored tissue effect used by the performer. If he is a newcomer and if he has no method we will detail a well-known and sure method. A half-sheet of blue paper is taken and at a point "A" a dab of gum (mucilage, and so on, to my friend Bruce Elliott!). On this gum is placed the folded sheet, and around and on top is further placed a smaller sheet which is gummed along the edge (see illustration). The dark nature of the paper completely hides any sign of adhesive.

In tearing, tear round the pocket, so that a piece is left adhering to the packet. All the pieces formed as a result of the tearing are screwed up into this one piece, which, of course, adhere to the main piece. When unfolding care must, of course, be taken that these pieces are kept rearwards all the time.

A half-sheet of white tissue is also needed. With these preparations made the stage should be set as follows :—Candlestick and pieces of paper on table to conjurer's left, a chair being placed to his right. On the seat of this chair the blank plate is first placed paint side up. On top is placed the patterned plate, patterned side up. With these preparations made the conjurer is ready : (during the whole of the presentation the background music is Cyril Scott's " Lotusland ")

Presentation.—My first effect I call the " Mystery of the Willow Pattern Plate " or a " Tale of Old China." Needless to say . . . this is the ' Old China ' (conjurer at this point picks up the plates from the chair with his right hand which approaches his left hand. The plates are momentarily held with the patterned one facing the audience. Without showing the concealed and blank plate, the conjures casually turns both over, each hand taking one plate and clinking one against the other. If handled properly this is a most convincing move. Although I used this move some twenty-seven years ago it has since been described for slates. The blank faced one, incidentally, is taken by the right hand. At this point I used to turn right, which had the

WILLOW PATTERN PLUS — continued from page 92

natural effect of allowing the left hand patterned plate to be turned pattern side to the audience, the right hand still keeping the back of the plate towards the audience. I then threw the left hand plate into the air catching it on its downward flight. A similar procedure was adopted with the right hand plate. The left hand plate was then placed pattern side down on the back of the blank plate and both replaced on the chair in a face down condition. The papers are now picked up from the table, the conjurer remarking :) Two sheets of paper, one white and blue, and the rest is a story without words. (Conjurer now starts . tearing and finally adjusting the paper so that the big sheet is ready for the restoration and unfolding. This wad of paper is held by the fingertips of the left hand >vh'ilst the right reaches for the topmost plate.

This is picked up and casually shown, the wad of paper being dropped on to it. The conjurer turns slightly right and holding the plate with the paper on it in the left hand, his right hand picks up the blank plate, and making sure that the underside is not. glimpsed, places it on top of the plate held by the left hand. The effect from the conjurer's point of view is finished. He turns left and walks to the candle. Gently the plates are tilted backwards and forwards over the candle flame. The top plate is removed, shown to be blank, then placed on the table. The right hand now takes the paper at the finger tips holding it high, whilst the left hand drops from the wrist showing the pattern on the other plate. The wad of paper is now unrolled showing the pattern.

Peter Warlock's "MODES FOR MTALISTS"


Bill Stickland writes :—" Having proved during the past year that a good mental effect admirably fits into a varied magical programme, I am more interested than I should have been in Peter Warlock's new effect " Mind Out of Time." This produces an incredible effect on the audience with minimum effort and skill. The manuscript fully describes the moves, etc., and includes a sample of the " gimmick " which can easily be made up. I would unhesitatingly recommend this to magicians requiring an effect which will make their audiences think.

C. L. Boarde writes :—" As I read on I found myself chuckling at the points where I found clever handling. I think the most honest thing I can say is ' This is the sort of thing Annemann would have enjoyed.' It is, thank God, direct ; as a platform effect there is no apparent point of weakness, and knowing the bumbling abilities of most of those who call themselves conjurers, I was most heartily pleased to find it well nigh fool-proof."

The price of the Routine with patter and notes on presentation is moderately priced at Seven Shillings and Sixpence from : PETER WARLOCK, 76 MANOR ROAD, WALLINGTON, SURREY, or any reliable dealer


-No Callers-


LEARN HYPNOTISM.—ANYONE can learn to HYPNOTISE provided they " know how " and are willing to devote a little time to practice. Practical lessons in THE WIZARD every month, written especially for the ENTERTAINER, by S. E. (Dexterous) Dexter, V.A.F., I.B.M., ALSO MUCH GOOD MAGIC, for Mentalists, Children's Entertainers and Club Performers. Special section for Vents. 36 fully illustrated pages per issue Subscription : 6 months, 12/6 ; Year, 24/-


flotice is hereby given that the partnership heretofore subsisting between Jack Francis Hughes Arthur Dowler and Harry Stanley carrying on business as manufacturers of magical apparatus at 44 and 46 Market Parade, Peckham, London, S.E.I5, 85 Shaftesbury Avenue, W.C., and 87 Wardour Street, W.I., under the style or firm names of " Jack Hughes and Harry Stanley " and also " The Unique Magic Studio " has been dissolved as from the 6th day of May, 1948. All debts due and owing by the said firm will be respectively received by the said Arthur Edward Dowler and Harry Stanley who will in future carry on the said business under the style and name of " Unique Magic Studio." The said Jack Francis Hughes will carry on business in his own name at 2 Evelyn Avenue, Colindale, N.W.9.

DATED this 11th day of August, 1948.

A WORD ABOUT BOOKS — continued from page 94


STUTHARD'S SVENGALI SUBTLETIES, zvritten and published by J. Stuthard. Price 3/6.

This, an enlarged English edition, shows that the first edition was published in Canada, September, 1938. At that time little had been written about the Svengali deck, especially with regard to handling. First and foremost in this manuscript, Mr. Sutthard teaches the reader the very necessary actions and moves for using this deck in such a manner that no suspicion can arrive in the spectator's mind that any other than a straight deck is in use. Running the cards, double lift, riffle-shuffle and glide are all dealt with, and the text is accompanied by a number of clear illustrations. Possibly the best piece of chicanery that is described is the method of dropping the cards so that the audience can see in the fairest possible way that they are all different. A convincing routine follows the descriptions of these moves, whilst for make-weight the author throws in some seven variations. Well recommended.

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