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Editor's Note.—Here is an effect that can be used in many ways. It can reveal a name, a set of numbers or a message. Rudi uses this effect in his Harlequin act as a second item, the conventional " Good Evening " message being produced. The running time with him is two minutes.—P.W.

Effect.—A strip of cellophane measuring approximately one yard by six inches is shown and then rolled into a tube which is held by the left hand. The hand picks up a cone that contains confetti. The cone is tilted and the confetti allowed to trickle into the cellophane tube. Strange to say it stays inside the tube. The conjurer goes on pouring the confetti until the tube overflows, then gentle blowing a little surplus off the top, the cone is replaced on the table. The tube of cellophane is now unrolled and the words "Good Evening" are seen to have formed themselves out of confetti.

Requirements.—Two lengths of cellophane measuring 36" by 6". Some confetti. A specially constructed cone. A small stand to hold the cone. (If one is working with an assistant the stand is unnecessary.)

Preparation and Construction.—Although the effect from the audience's point of view appears to be free from the usual type of conjurer's apparatus, there is quite a lot of hidden chicanery. Fortunately once made up, there is practically nothing to set for each successive performance. Let us deal with the cellophane first. On one piece the conjurer, after deciding the message that he wishes reproduced, cuts out the necessary letters from white tissue and sticks them to one of the pieces of cellophane. Care should be taken that the first letter is at least six inches from the narrow edge (see illustration). With a brush and some red. blue and continued on page go continued on page go

THE CONFETTI CHARMER — continued from page 89

green water colour paint, spots are placed on the tissue, so that the ultimate effect is of pieces of confetti. This, incidentally, is far quicker a job than one would imagine, as, of course, one colour is dealt with at a time. When this task is finished and the paint is dry, the reader will realise why the odd six inches is left, for he will see that where the paper is stuck to the cellophane the latter will crinkle. The six inches gives complete coverage when this piece of cellophane is rolled into a tube.

The second piece of cellophane is treated in this manner :—Roll one end around an office ruler, roll back and apply a little glue, or, better still, perspex cement to the edge, then roll forward again so that the cement contacts the sheet and a tube measuring approximately one and a quarter inches in diameter is formed. When completely dry, one end of this tube is pressed flat and a piece of cellophane (scotch) tape fastened over it ("see illustration). This, of course, is the tube into which the confetti is poured. The piece of cellophane is now rolled into a tube and kept like this until needed. The cone has next to be constructed. The former for this is made from thin cardboard (the one that Rudi Jader sent me was made from part of an office folder) measuring io|," by 9". The cardboard is rolled into conical form so that the diameter at the periphory measures approximately 4. At the bottom it is not brought to a point. A piece is now cut from the larger side of the cone (see illustration) measuring six and a half inches in length. A piece of similar cardboard is then glued into position so that in effect a niche is formed (see illustration). Newspaper or coloured paper is now pasted over the cone and some is also pasted inside. Newspaper is preferable as the type helps to hide the irregularity of the interior caused by the ' niche ' construction. The stand to hold the cone is in effect like a retort holder consisting simply of a ring attached to a stand. It must have a heavy base and the ring should measure (on the inside) three inches in diameter. To prepare, the piece of cellophane is given a very slight sprinkling of confetti on the message side, after which it is rolled fairly tightly so that a roll measuring about one and a half inches in diameter is formed. (This rolling is done from the end of the message, so that the unadulterated end completely covers any sign of crinkling). Of course from a point of view of symmetry the message should also finish about six inches from the edge. This roll of cellophane is now placed in the ' niche ' of the cone, care being taken that the free end of the cellophane is farthest from the cone. Cone and cellophane are now placed inside the holder and the cone filled with confetti. (The weight of the cone prevents any movement of the roll of cellophane.) With the holder in its position on the table, which should be on the conjurer's left (the roll of cellophane is, of course, farthest from the audience), the rolled length of cellophane on a chair on his right, the conjurer is ready for the . . .

Presentation.—The right hand picks up the roll of cellophane from the chair, moves upwards and across the body, then releasing all but the unfaked end. The cellophane falls and the faked end is caught by the left hand. Because of the fact that the cellophane at all times is kept rolled, the tube at the lower end (should any one notice it) is naturally taken for the normal curl that one finds with many materials that have been rolled. (Waller has used a similar idea with paper.) The left hand comes up and the right hand drops the end it was holding. Using both hands the cellophane is now rolled into a tube. This rolling should be done with the fingers at each end. By this means a reasonably tight tube is achieved. At this point the conjurer is within hand's reach of his table, and care being taken that the open end of the cellophane tube is ceiling side up, the body is moved slightly left and the right hand reaches across and down to pick up the cone. In picking up the cone, second, third and fourth fingers go round the front, whilst the thumb is at the rear. The first finger for a fraction of a moment lies in a vertical position (see illustration), but as the cone is carried upwards, it goes between the concealed cellophane and the cone. To those who may think that angles are likely to be a cause of danger, let me disillusion them. At an angle of 35 degrees from the stage there is no chance of the load being seen. The cone is carried upwards and the body is turned so that the conjurer once more is facing his audience. The cone is now held about four or five inches above the cellophane tube and tilted so that the confetti begins to fall. To get the best effect the conjurer will have to shake the cone. When the tube is filled to overflowing, the right hand restores the cone to a vertical position then moves away; at this point with the right arm in an elbow position, the cone is about five inches to the right of the performer. The left hand brings the opening of the cellophane tube of the body just in front of his mouth and then gently blows the surplus away. Every action that has gone before has led up to the most important move that is now about to take place, i.e., the switch of the filled tube for the " message " tube. The left hand holding the' filled tube is lower and taken slightly left. In other words, the conjurer after blowing away the surplus, lowers the tube in a natural fashion. Both hands move inwards and the right hand apparently takes the tube whilst the left takes the cone. Actually when the left hand is under cover of the cone the right hand (remember that the cellophane roll has been held throughout by the first finger and thumb) moves away, the left hand leaving the filled tube in the ' niche ' and then holding the cone with the fingers and thumb. The cone is now placed once more inside the holder which, of course, retains the filled tube in a safe position (this is in effect the Karl Germain switch for his confetti and dove trick. The articles used make the handling exceptionally clean). The effect is now almost complete. The " message " roll is tapped, and then holding it in a vertical position, the conjurer commences to unroll it and reveal the message, the sprinkling of confetti placed inside at the start falls to the ground, thus giving a finishing touch to a very pretty effect.

In " Plans for Deception " I described an effect with the title of " The Hydrostatic Cone." The advent of " Evaporated Milk " made the effect much easier, and during the years 1941-42 I worked out a presentation which I used as an opening effect in a general magic show for some four years.

It is a presentation which brings back many Army memories, of Eddie Carroll, the Blue Rockets, and on one occasion the inimitable Chris. King working the off-stage voice. Those who may remember the original effect may recall that a special cone had to be constructed for each performance. Mr. Grayson made a fake for me that helped to make this a very easy task. It will help if the few properties are first described and then the presentation complete with " lines " is given.

Requisites.—A celluloid fake as shown in illustration. It will be seen from the second illustration that if a piece of newspaper is rolled around this in conical form a cone with a celluloid top is achieved. A coating of adhesive is first applied to the sides of the fake and the edge of the paper is trimmed. The surface of the celluloid is smeared a thin covering of vaseline. As I said before, the fake was made by James Grayson who, no doubt if you like the effect, will make one for you at the cost of a few shillings. The same manufacturer also supplied me with an evaporated milk tumbler, and this is the second article required. Into this is placed the necessary amount of milk so that when the fake is inserted the glass appears to be filled with milk. A piece of newspaper, some five inches square is also needed, and this is placed on the conjurer's table. These are the complete properties as seen by the audience. For the presentation, as I nearly always used it, an off-stage microphone attached to an amplifier is also required as well as a

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