John Howies Routines


Continued from page 86



This effect is the culmination of a search for a ample and direct version of the ring on wand effect. While bearing a certain similarity to Bill Larsen Jr's. ring on pencil effect the mechanics are quite different.

The performer displays a ring and a wand in such a way as to make it obvious that these are the only articles used. Showing the ring at the tips of the fingers of one hand, the wand being held by the middle by the same hand, it is then carried under and into the fist for a moment. Suddenly the ring is seen to be threaded upon the wand, the ends of which have been in full view throughout.


The Ellis ring and shell. A wand.

The effect is brought about by a combination of the Howie " Pick Up " move and a subsequent " steal" of the shell.

Display the shell covered ring in the left hand as in Fig. 8, the wand being held in the right hand. Execute the Howie " Pick up " move as shown in Figs. 9 and 10. Next grip the shell between the left forefinger and thumb then move the two middle fingers from inside the shell to below it and use these fingers to push the sheli well up and away from the palm.

The wand is now transferred to the left hand thus: lower the tip of the wand on to the near side of the ring thereby causing the ring to tilt upwards^ Immediately push the wand through the ring and through between the left forefingers and thumb so that the left hand is positioned centrally on the wand then close the left second, third and fourth fingers over the ring. Fig 12 shows the performer's view of the wand tilting the ring. Care should be taken to avoid noise when tha wand touches the ring and also to avoid any undue pause just before the push through.

Now turn the left hand palm downwards. It desired, the shell may be taken in the right hand for a moment then replaced between the left forefinger and thumb—this to give silent emphasis to the fact that ®o far there has been no contact between the " ring " and the wand.

Next extend the left second and third fingers and grip the shell between them (third finger or. the spectators' side) and, releasing the grip of the forefinger and thumb, fold the second and third fingers back so as to carry the shell out of sight. Under cover of the hand move the second and third fingers in relation to each other to bring the shell at right angles to the palm. Tilt the hand slightly towards the spectators so that the shell extends towards you as in Fig 13.

With the extended right forefinger point to each end of the wand emphasising that these will remain in view throughout. State that the ring is held against the wand by the left hand—at this point tap the back of the left hand with the right forefinger as in Fig. 14 and steal the shell by extending the right second and third fingers, using them to grip the shell which is then removed by folding these fingers back behind the right hand. This steal takes but a moment and is identical with that used in the well-known vanish of a coin or sponge ball from the closed fist. Having made

the steal, lower the right hand to the side and concentrate all attention on the left hand. Make a squeezing motion with the left fingers then spread them so as to grip the wand between the thumb and forefinger on one side of the ring and between the third and fourth fingers on the other. Finally slowly raise the left hand, palm towards the spectators, to Show the ring threaded upon the wand as in Fig. 15.

An alternative ending is to have the ends of the wand held by two spectators before removing your hand to reveal the ring upon the wand.

Disposal of the shell.

Assuming that it is not required to continue with another effect requiring the shell, probably the best method is to the side pocket althqugh the " Topit" vanisher is also suitable. The following sleeve disposal is also worth noting : With the left hand held as in Fig. 15, use the right hand to spin the ring on the wand. This involves a short downward jerk of the right hand which gives perfect cover for the dropping of the shell into the upturned left sleeve from which it can be recovered at leisure

Adaptation to other Articles.

The above effect can be performed using a ribbon, rope, handkerchief, etc. in place of the wand. Examples will be found later in the book.


The Horowitz booklet includes a neat ring on pencil effect by Bill Nord. Since a special faked paper pad is required, however, the effect is limited accordingly. My version requires no special accessories, gives a clear view of both ends of the pencil throughout the penetration and includes a "sound effect" as the ring "penetrates" the pencil. The method is based on an original move first published in my " Thanks to Ellis" effect.

A simple two fold screen is formed from any convenient small piece of card or stiff paper and is impaled upon a pencil. A ring is placed behind this screen as it stands on one hand. The hand is jerked upwards and the ring is heard to strike the pencil. On turning the screen to reveal the other side, the ring is seen to be threaded upon the pencil.


The Ellis ring and shell. A pencil which should for preference be a long one with a sharp point. A piece of thin card or stiff paper—the exact size is not of vital importance but 5 inch by 3 inch is convenient. A post-card or used envelope will prove satisfactory.


Form a small two fold screen by folding the card (or paper) in half across its length so that each half is about 3 inches by 2\ inches. Force the pencil point a short distance through the centre of the folded card—this to facilitate the passage of the whole pencil later. Having done this, place the pencil in the breast pocket (this is important).

Now show the ring and shell as one and hold in the left hand as in Fig. 16—note that the ring and shell lie back in contact with the thumb. Hold the card in the right hand as shown. Raise both hands upwards as indicated by the arrow until the backs of the hands are towards the spectators and the fingers point upwards. It is during this upward motion that the key move is made.





As the hands approach the horizontal relax the grip between the left thumb and second finger slightly and, as the hands continue upwards, move the tip of the thumb forward against the second finger so as to keep the shell in view. The relaxation of grip must be such as to allow the ring to fall freely back on to the thumb. Fig. 17 shows the performer's view of the hands at the end of thé upsweep. The effect on the spectator* should be simply that you have raised both hands keeping both ring and card in full view. (Note : This version of my " thumb " move is rather different from the one given originally in " Thanks to Ellis " and is considered to be an improvement).

Now place the card between the left thumb and the shell—the dotted outline in Fig. 17 shows exactly how to place the card. With the freed right hand take the pencil from the breast pocket and as this is done, raise the left elbow. This natural movement has the effect of bringing the left hand palm downwards and the ring to the tip of the thumb so that it is close to the rear of the card as shown in Fig. 18, which is a side view exposing the relative positions of ring, shell and card. With the left little finger push the other half of the card round against the thumb as indicated in Fig. 18 then push the pencil from the spectators' side right through the shell, and both halves of the card (and also the hidden ring) as shown in Fig. 18.

With the left thumb ease the ring silently on to the pencil. Take the shell in the right hand, slip it off the pencil then, keeping it full face :o the spectators, position the card on the upturned left hand as in Fig. 20. Stating that you will lay the ring under the pencil actually lay it flat near the heel of the hand, then move the right forefinger forward while the thumb pushes the shell back within the left sleeve as in Fig. 19. Place the right hand on top of the card as in Fig. 20. and give a short vertical shake whereupon the ring will be heard to strike the pencil.

ring will be heard to strike the pencil.

FlQ. Zo

Immediately grip the end of the pencil with the right hand and raise pencil and card about 12 inches above the left hand. Grip the point of the pencil with the left hand (the higher position helps to move the shell further up the sleeve).

Holding both hands so that the palms are visible slowly rotate the pencil till the rear of the screen is towards the spectators revealing the ring threaded upon the pencil as in Fig. 21.

Disposal of the Shell.

The shell can be recovered easily by lowering the left arm after which it can be replaced on the ring for a further effect or disposed of in a pocket as the ring or pencil is put away.

To be continued


"EXPERT CARD TECHNIQUE" by Jean Hugard and Frederick Braue (English edition published by Messrs. Faber and Faber Ltd., Price 42/-).

The present edition is a facsimile of the third edition that was published in the United States in 1950. It is without doubt the apotheosis of card trickery and its value to the card worker or would-be card worker is beyond price for within its 474 pages have been packed the finer sleights and subterfuges of the World's top-flight cardicians. When the third edition was published two additional chapters were added to the original edition; they were written by Dai Vernon and the late Dr. Daley respectively. Vernon dealt with the finer points of card handling illustrating some of his points by including his masterful " All Backs " routine whilst Daley the perfectionist deliberated on some aspects of the " Side Steal."

The remaining part of the book covers every sleight and stratagem of card table artifice, adding to the sleights descriptions some of the most brilliant feats of card magic devised by men like Miller, Horowitz, Rosini, McMillen, Vernon, Merlin and Zingone. Such a list of names may appal the newcomer to magic but as an antidote to this high-powered technique let us add that one chapter deals with effects that require no skill whatsoever, the means for accomplishing the feats consisting of sublety and subterfuge well disguised.

It is hard to read through a book, even with a pack of cards in hand and pick out the besi: effect, for truth to tell there are many " bests " according to the individual like of the performer. For ourselves, however, " Solo Flight Aces," "Mercury's Card" (A favourite of Dr. Stanley Jaks) " Two-Six-Four* and Miller's " Dunbur'y Delusion " are eternal favourites.

" Expert Card Technique " takes its rightful place among the great classics of magical literature. To any magician who essays the study of what Johann Nepomuk Hofzinser described as the " Poetry of Magic " it is a necessity.


This is the ideal routine for the intimate show, for it is designed to get LAUGHS as well as to completely baffle the audience.

Half-a-dozen assistants are invited to select one of their number as the SUSPECT, and this is done by dealing a well shuffled pack of cards. The man who gets the ace of spades is the SUSPECT, but he DOES NOT REVEAL THIS to you or the other assistants, for the cards are dealt face down. Each man then marks his thumb-print on a slip of paper—one print at each end. They then tear their slips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM is taken to each member of the IDENTIFICATION PARADE In turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT—WITHOUT KNOWING QUITE HOW HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table, and this MATCHES the print of the suspect he has identified. The suspect is asked to show his cards, and sure enough he holds the ACE OF SPADES.

This routine comes to you In a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements—a pack of cards, pad of paper, and a constable's arm-band and convict hat (which you can make out of paper).

REMEMBER—Th« Spectator Does All The Work—Without Knowing " How."

Also included is a NEW PRINCIPLE in Montalism that can be used in many more effects.

PRICE 7/6 Postage 3d. (1 Dollar)


Challenge Instant Hypnotism and Mass Hypnotism

George Armstrong

Chandu's Psychoanalysis George Armstrong's Premonition Magic Wand Year Book 48/9 Tricks of the Trade The Universal Mind Bohleno's Mysteries I'll Read Your Mind

Entertaining with Contact Mindreading Entertaining with Hypnotism

George Armstrong George Armstrong George Armstrong George Armstrong Ron Baillie Henry Bohlen Aage Darling S. E. Dexter S. E. Dexter

Identity Parade Automentalism Zodiac Telepathy John Ramsay's Cups and Balls Thanks to Leipzig!

Will Dexter Ken de Courcy Ken de Courcy Victor Farelli Victor Farelli

21/10/3 10/3 5/3 2/7 12/9 10/3 17/9 7/9 10/3 7/9 20/3 12/9 25/6 10/3

Spectator's Choice Douglas Francis

Mother Goose Mystery Martin Gardner

Twenty-Six Living and Dead Tests Teral Garrett

The Concert Ventriloquist and Children's

Entertainer Jamesosophy Strictly Magic Mastered Amazement Toni Koynini's Card Miracles Stunts With Stage Money Suzy and the City Slickers Where Houdini was wrong it ii ii Stooging Around Playing With Magic Magically Yours

Maurice Hurling Stewart James Eddie Joseph Koran &. Lamonte Toni Koynini Jack Lamonte Jack Lamonte Maurice Sardina (cheap edition)

Joe Stuthard Wilfred Tyler Verrall Wass

10/3 5/3 5/3 10/3 7/9 5/3 7/9 20/6 7/9 5/3 30/6 15/6



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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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