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■JHE name of Hubert Leslie is known at every famous school throughout the length ana breadth of these isles. Some readers may remember a review of his book, "Artful Art and Breathless Brainwaves", a book in which he told of his experiences as an entertainer at many many public schools. This present contribution is not a trick but a little interlude which like the late Oswald Williams' "Jigsaw Faces" is more than acceptable in a programme of magic.

The apparatus consists of a large cut-out of a bowl. The first photograph gives the appearance as seen by the audience, whilst the line drawing shows that it is hinged at AB and CD whilst from D to the lower edge a saw cut is made. Now if the part ADB is bent backwards the part DE can be moved round on the hinge to form the pattern shown in figure (4). Any reader interested in having the effect made up might like to contact Mr. Leslie at 4, Tushmore Crescent. Crawley. Sussex.

The bowl when the necessary cutting has been made and hinges have been added is painted to give the effect shown in the first photograph. It should have a small base so that it can easily stand on the performer's table.

The patter then goes as follows :—

Long years ago in Old Cathay, (Or China, as it's called today), There lived, as some of you may know, That Gay Philosopher. Bung-Ho.

The Laughing Sage they called him then, The merriest of mortal men; And from that day and ever after Bung-Ho has been the God of Laughter.

This is the Master's Magic Bowl, Covered with Chinese rigmarole. Mysterious signs of incantation Painted on it for decoration.

It says: "Let Laughter ease your pain, Make life a joy - and keep you SANE!"

The Bowl, you'll note, is filled with Wine, If offered some, you must decline! Cast it aside, you do not need Strong Drink this Orac'.e to read!

(Here bend back the top part along the line AB, at right angles to the lower part).

VOLUME 13 No. 12 - 1/6 (20 Cents) - SEPTEMBER, 1959

(Here slowly bend the left-hand half over to the right on the "hinge" CD).

Manufacture and Selling Rights held by Hubert Leslie.

Then make the Cabalistic Sign And Magic Power shall be thine! And, as a proof that this is true. Behold! The Bowl breaks—thus—in two!

(Here slowly bend the left-hand half over to the right on the "hinge" CD).

And thus rejoins itself to show The laughing face of old Bung-Ho!

(Complete the movement to the right, so that the two halves fit together).

Manufacture and Selling Rights held by Hubert Leslie.


rpHe performer borrows a 10/- note. It's number is noted down on a visiting card. Note is folded into a small roll and enclosed by a rubber band. (This is done under the eyes of the spectator). Performer holds the folded note with a pair of tweezers for all to see and then, placing the note in his left hand for a moment he lights a candle on his table. Note is ignited and disappear in a flash. Performer immediately reaches to his table and exhibits a small brass tube with a cap secured by a small padlock. Spectator, after examining the tube, unlocks the cap and finds the borrowed note inside.


1 Super Bill Head Tube. (Unique Studio of Magic).

1 visiting card.

2 rubber bands (smallest size). 1 small bridge pencil.

! candle in a candle stick. 1 box of matches. 1 pair of philatelist's tweezers. Supply of flash paper.


(1) The Faked Note

A piece of flash paper cut the same size as a 10/- note should be folded to resemble a note folded l/32nd of its size. (Several should be prepared at the same time).

The final result should be a compact roll which can be pressed and moulded into shape with the fingers. Enclose with a rubber band (doubled). A touch of water colour paint will complete the preparation and give it the appearance of a real note similarly folded.

(2) The Match Box

This should have a ledge of thin card-board stuck on the underside, protruding approximately two-fifths of an inch, sufficient to hold the faked note.

(3) The Bill Head Tube

A small piece of thin card should overlap the sliding section of the main tube (2" x 1"). This will ensure that the note will not jam when the tube is shut after loading. The card should have some short message or compliment written on it, e.g. with thanks.

or, with the compliments of performer's name, or New Year Greetings, etc. Anything suitable to give a logical excuse for its inclusion in the tube.


In my opinion this excellent miniature illusion should be made as visually attractive as possible. Therefore I attach importance to the dressing of the effect.

In my own presentation 1 use an occasional table with a white velveteen cord cloth fringed with red. On the table I have a small ornamental Victorian clock base in gold and covered with red velveteen cord.

The object of the stand is to provide a convenient base to deposit the small objects used in the routine—in effect a sort of Victorian miniature display tray. A small tray could do equally well.

On the tray should be placed the following articles :—

Matchbox. 2 rubber bands (1 for emergency in case the other should break in performance), tweezers, key of the padlock (preferably attached to a key tag on account of its small size), a small ornamental candle stick with a red candle, pencil, visiting card.

At the back of the tray or stand (approx. 12" x x 1" in dimension), a small ledge 2" x three-fifths inches should be fixed. This will depend on the tray used. The object of the ledge is to hold the inner portion of the tube just below the edge of the tray for the crucial load of the real note. The attachment of the padlock makes it difficult to position the sliding portion as required otherwise.


The faked note is exchanged during the lighting of the candle. As the matchbox is returned to the stand (or tray) after the lighting of the candle it is tilted slightly to allow the real note to roll into the sliding portion of the tube just below the surface of the stand. This movement, of course, takes but a second, but care should be exercised to ensure the safe loading of the note. A slight tilt should suffice. The hand covers this move from the view of the audience.

There is a slight risk that the note might roll beyond the tube. This is a reason why the performer folds the note and not the spectator to ensure that the folding is done neatly and compactly. so that an easy load is made possible.


The Performer asks for a 10/- note. He hands the spectator a visiting card and a pencil and requests him to note down the number of the note and retain the card for future reference.

Then taking one of the rubber bands he carefully folds the note under the eyes of the spectator, who sees that everything is fair. Performer then takes the note with the pair of tweezers with some such remark as "This is a very small object—these tweezers will help to keep it in view."

The left hand is held open so that the audience can see that it is empty, without special attention being drawn to this. Then he places the note in the palm of the up-turned (left) hand exclaiming "We'll just light the candle."

Performer takes the match-box, lights the candle, blows out the match, and replaces the box on the stand. It is during this procedure that the switch is made, aided by the ledge at the rear of the box. The faked note is tipped into the palm, and the real note is scooped up onto the ledge instead.

The faked note remains in the palm as the matchbox is replaced on the stand, rolling the real note into the sliding portion of the tube. This movement takes but a second, but care should be exercised to ensure safe loading. A little practice will show that only a slight tilt is really necessary.

The faked note is removed with the tweezers and ignited from the flame of the candle, whereupon it disappears in a flash. This is very effective and in my experience registers well with an audience.

Reaching behind the stand the performer immediately picks up the tube between the thumb and first finger of his right hand. The action of picking up and displaying the tube is done with a flourish. (The piece of card inside the tube ensures that its closing is instantaneous, and the movement is covered partly by the sweep of the hand).

The spectator is handed the tube with a request to examine it c osely. When he sees that it is impossible to open it without undoing the padlock the performer hands him the key, and the spectator opens the tube to find the borrowed note inside. The number is checked and the routine is over.


1 have found this to be a very effective routine, clean in action and with a minimum of suspicious movement. While no great originality is claimed in the routine I have smoothed out one or two points which I had previously considered weaknesses.

I had felt that the loading of the tube in the pocket inartistic and unsatisfactory. The use of the card inside the tube obviates the danger of the note being wedged between the edge of the main tube and the solid end of the sliding portion.

I recommend that at the conclusion of the effect the performer himself removes the card using the tweezers. There is a small risk otherwise that the spectator in his examination of the tube might press on the edge of the card and push out the sliding portion.

The routine requires the simplest and most direct patter in order to keep the mystery clear cut and to sustain interest.

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