5. With the wand and coin affixed held in your right hand, touch the back of the left hand with the tip of the wand, then open to show that the coin has vanished.

If you now wish to get rid of the coin altogether you can place the wand down on to the table behind a silk or similar object or you can place it in your inside jacket pocket. Either way, because the coin is still attached to the wand, you can perform these actions very cleanly and with out any suggestion of hiding anything. Alternatively you may like to reproduce the coin. In this case, whilst you are opening the left hand to show that the coin has vanished, you work the coin free from the wand in your right hand. Then, with your open left hand palm up, you gesture with the right so that this hand passes over the left. At this moment you drop the coin from the right hand into the left. Immediately the left hand closes and turns back up. Touch the back of the hand with the tip of the wand and then open to show that the coin has returned.

If you wish to finish a coin routine by vanishing a number of coins it is possible to use the move described by waxing the coins together then proceeding with the vanish as with a single coin.

The principle of this vanish can also be used for sponge balls in the following way. Instead of using a plastic wand you must use a wooden model but with one end tapered to a point; a conductor's baton is just the thing. The sponge ball must be made from a material of an open texture. The ball is placed in the left hand which is then closed. The wand is pushed through the fist so that it penetrates the ball. The right hand is shown empty and the wand is removed from the left fist with the ball or balls impaled thereon.

Although this ball vanish may read very well I warn you that it is quite a tricky thing to handle for a lot depends upon the type of sponge you are using, also the necessity for a wand with a sharp end. I mention it, for it may be of some use to you but the principle, used for vanishing a coin, is entirely practical and I recommend it unreservedly.


SPECTATOR shuffles. Take pack in left hand. Crimp the bottom card and draw a packet from middle of pack and start Hindu shuffling this packet on top of remainder. Audience calls "stop" anytime, stop here and deal off top three cards of left hand packet to three persons, A, B. C. Drop right hand cards on left hand packet.

Undercut half the pack and have the three cards returned to top of left hand heap and drop right hand heap on top. Cut fairly, then to and including crimp. Selected cards are now on top of pack. Riffle-shuffle maintaining top stock.

Turn the pack face-up and leaf through a few cards. Get a break nine cards from face of deck. Close the spread and double-cut the nine cards to top of deck. Turn pack face down and ribbon spread on table.

Point out that the cards are lost somewhere in the 52 cards—wave hand over ribbon and with eye count to eleventh card from top of deck— flick this card face-up. Push it to table centre— one of the spectators will claim it. Scoop ribbon up.

Hold pack in left hand in overhand shuffle position, undercut half with right hand and hold out left hand—spectator returns his discovered card face-up on left hand packet. Shuffle off right hand packet fairly on this card. Ribbon deck face down again.

Wave hand over ribbon again, count with eye to tenth card from face-up card at centre—run finger along and flick this card face-up. Another spectator will claim this card. Leave it face-up in deck at its original position. Now two face-up cards in deck. Scoop pack up.

THREE CARD ROUTINE—Continued from page 2

Hold pack in left hand and start running off with right hand until first face-up card is reached —toss it out—run to second face-up card, leave it on top of left hand heap and lay down cards in right hand. Left hand thumb counts two cards as right hand picks up the first face-up card which was tossed out earlier. Hold this card by the ends, lay it on the face-up card(s) on left hand packet and pick this card(s) up. Actually top card of the packet is now face-down below this card. Lay the two cards (3) in left hand still face-up and take off top card during covering patter. Return this card below the face-up card in left hand. Thus the third selected card is now face down between the two face-up cards. Hold these cards in right hand, pick up a packet in left hand and with thumb of that hand flick over its top card to show for moment, then turn it face down again. (This is not really necessary, but I use it because card men I know sometimes think a glide move is used here and showing of top card gets rid of that idea.) Lay the face-up cards on this face-down packet. Pick up other tabled packet, turn face up to show bottom card casually, drop it on face-up cards. Lay pack down.

Ask for name of third card. Wave hand over pack and ribbon show last card face down between the other face-up selections!



FIRST of all I distribute a number of plain business cards and request members of the audience to write some simple question on these pasteboards. A number of pay-envelopes are handy and these are stacked as follows:

First of all flaps are opened and all envelopes are placed one on top of the other address or writing side down except the top two. The topmost envelope, containing a blank card, is placed on the next one with the address side up, but the flap is

This gives the opportunity to place a card seemingly in the top envelope but in fact it goes into the second one. The questions having been written I ask a spectator to hand me his card with the written side down so that I can not see what his question is.

" I'll show you how to place the card into an envelope correctly," I explain, and taking the card appear to place the card into the top envelope. As you now know this card goes into the second envelope from the top.

The top envelope is pushed forward and handed to the spectator to seal. However this envelope contains the blank card. Next each spectator receives an envelope from the bottom of the stack in which the cards are sealed as explained by the mentalist.

While this is going on I turn my back so that 1 cannot see what happens. In the meantime there is sufficient time to open the top envelope and read the question therein. This card is placed under a sheet of blotting paper on the table as I place the remaining envelopes on the table.

The other envelopes are collected—the envelope containing the blank card going at the bottom of the stack. I take the top envelope and place it against my forehead. The question is " read " but actually you say aloud the question already known to you, answer it as well and then open the envelope to convince yourself the question was correct.

After the spectator has confirmed the question and the answer to be correct (we hope) you offer to give him his card back " and as a souvenir I will place my signature on your card." Sit down at the table, write your signature and blot it, lifting one corner of the blotting paper only. Under cover of the blotting paper you switch the cards and read the next question. After this procedure the card is handed back to the spectator. The signature on the first card was written while my back was turned.

Certainly, this is the one-ahead system, with the advantage that the spectator gets his own card back before the next card is read and answered.

You can go on until you have the blank card (the last one) under the blotting paper.


THIS effect is well known—this is my method.

Fan pack face-down. Selection made, returned—hold break below selected card at centre of pack.

Take the pack in right hand transferring break to right thumb. Drop in left hand all cards below break. Side glide bottom card of right hand packet with third finger.

Ask for a number up to (say) fifteen. Say ten called. Push off top card of left hand packet and turn it face-up with left thumb.

" Watch for your card." Push the face-up card under the right hand packet but leave it protruding. Actually it goes second from bottom owing to glide of bottom card.

Push off next card of left hand heap, turn face-up, push under right hand packet (this time actually on bottom below glided card) and continue pushing off cards face-up until there are ten face-up under the packet. Spectator's card has not been seen. Lay down remainder of left hand heap.

Take face-up cards from beneath right hand packet in left hand and square glided card with rest. Lay down right hand heap.

Turn packet of ten (?) face down and buckle count " Ten cards and your card is not amongst them! " Lay last card below rest.

Spectator's card is now tenth from top of this packet and face-up.

Ask spectator to point to one of the two tabled packets and drop the packet in hand on same. Hand in this packet.

Ask for his number again and have him count down to his card.

Personally, I find it better not to have him name value of his card as in normal way.



HERE IS a practical prediction effect suitable for large stage work. Many of you will have seen A1 Koran make use of an adapted version in T.V. work.

A stand on which rests a card with a large ' 1 ' on it is seen on the performer's table. A blackboard and easel are close at hand. The numbered card is taken from the stand revealing a card beneath numbered ' 2.' On the one in his hand the performer writes, with a piece of green chalk, a message and without showing the audience what he has written he replaces the card back on the stand. A member of the audience is now requested to stand up and to name a colour aloud. When he has done this the mentalist writes on the blackboard " A— (say) Mauve." The second and indeed a third board are similarly taken and respectively written upon with red and brown chalk, whilst two other members of the audience act as representatives B and C. The spoken thoughts of these two spectators are also written upon the blackboard below those of A. We'll suppose that the three selections by the spectators are as follows:— A—Mauve B—San Francisco C—Three of hearts

The boards are now taken from the stand and the writing being revealed proves that in every case the performer has been accurate with his predictions.

The Requirements

This is an apparatus trick and requires care in manufacture. First of all let me state that the cards used are in effect blotting paper holders, a sheet of white paper taking the place of the more absorbent kind of paper. With coloured chalk writing on a white surface, such writing shows up far better on this white surface than it does on a slate. To make up these pads you will first require nine pieces of stout cardboard measuring 12 by 10 inches. (This size is arbitary but I am giving the size of the boards made up by myself.) Four of the boards should be faced with a quality paper. Now from the centre of the four faced boards cut a circle of cardboard three inches in diameter. Four pieces of thin celluloid, four inches square are now taken and affixed to the unfaced side of




these pieces of board so that each completely covers the cut out circle. The easiest way and at the same time cleanest, is to use sellotape. This is shown in Fig. 1.

No\^ to construct the pads proper. Those numbered ' 1 ' and ' 2' are quite straightforward. Some fairly thin leather is required for the corner pieces. Sixteen pieces are required in all and the shape to which they should be cut is shown in Fig. 2.




of leather-comber-

Prepare three of the unfaced boards with corners and then at the centre of the backs of these boards affix with paste a square of white paper 2>\ inches square. With a brush and some Indian ink paint on the squares of paper the numbers ' 1' and ' 2 ' respectively. With a coating of adhesive over the backs of these cards (except, of course, where the square of paper with the number appears) they are applied squarely to the non-face side of the faced cards and allowed to dry under pressure. Pads ' 1' and ' 2' are now complete


(Fig. 3). There is little difference in the construction of pad number '3,' this difference is in the two topmost corners where the leather holders are enlarged so that pad number ' 2' can nest. (See Fig. 4.)

now pad! 2 is nested in the corIner-s of rAD 3


The construction of pad number ' 4 ' (this has to play the role of two pads) is more intricate. Remember that you have one faced card spare and also a spare card with affixed corners. Between these two pieces of card a slide has to move so that either a ' 1' or ' 2' can be seen through the celluloid window. For this purpose the ninth board is taken and cut lengthwise into three pieces (see Fig.5), the two outer pieces being


slide - dotted lines ILEriUSSENT position of celluloid window fc-position of numbers glued to the top and bottom of the unfaced side of the faced board whilst the third piece forms the slide. So that it shall not protrude at either end, four inches are lopped off. Near one end of the slide a drawing pin is inserted (see illustration) and on the other side, white paper is pasted on and the numbers ' 1 ' and ' 2 ' painted upon it.


slide - dotted lines ILEriUSSENT position of celluloid window fc-position of numbers glued to the top and bottom of the unfaced side of the faced board whilst the third piece forms the slide. So that it shall not protrude at either end, four inches are lopped off. Near one end of the slide a drawing pin is inserted (see illustration) and on the other side, white paper is pasted on and the numbers ' 1 ' and ' 2 ' painted upon it.

The slide is now placed into the channel formed by the other two pieces of card and the positions found for the extreme movements of the slide i.e., to change through the celluloid window the number ' 1 ' to a ' 2.' A slot is now cut in the leathered cornered card to allow for the movement of the slide and drawing pin. Now with the aid of glue the complete card is assembled and with the slide at the position shown in the illustration a slight pressure on the drawing pin head and lateral movement to the right will cause a change of number on the card (Fig. 6). There is nothing really difficult in constructing the card. Patience is all that is necessary.



Finally the stand on which the cards rest. Here again the illustration tells a better tale than a multitude of words. It is best made in five-ply wood; it has an easy fitting flap to match the back of the stand. The flap I have is made from stout cardboard. The stand can either be finished by painting, or covered with veneer. (Fig. 7.)

flap which exactly fits stand * is painted to match back. of stand

The remaining requirements are three sticks of chalk, one an ordinary stick of green, the second half green, half red joined with adhesive tape, whilst the third is half red and half brown similarly joined.

You also need a means for forcing a card in a most direct manner. I use a straight forcing pack with an indifferent card on the face. There should be little need for me to add that the one ahead system is used and that the last ' prediction' is a force.

The Preparation

Into the unfaked pads slip suitable sized pieces of white drawing paper. On the number three sheet write in brown chalk: " Number three will choose the (name of force card)." Now board number two is nested in board number three and in this condition both boards may be handled easily as one board. A sheet of paper is now slipped into the faked board and cut with a razor blade, allowing space for free movement of the drawing pin head. To further conceal this slot a line is drawn across it in green chalk. Fig. 8 shows how, when the message is added, this line forms a mere flourish. At a distance of three feet, the slot is invisible.




The boards are now set up as follows: First of all fit the flap into the stand and then place on top of it, number side facing the audience, pad three, which remember has pad two nested inside. On top of this place the faked pad with figure ' 2' showing and finally on top of this the unfaked pad number '1.' At hand you have the chalks in a box, blackboard and easel and forcing pack.

The Presentation

Pad number ' 1' is taken with the left hand and the piece of green chalk with the right. On this pad the mentalist writes any message he likes. When he has finished the chalk is dropped into the box and the pad is placed back on the stand in this manner. Standing left side to the audience the pad is taken with the right hand. The left hand tilts the pads and flap forward (see Fig. 9), and the right hand continues with a downward movement placing board number ' 1' behind the flap. To the audience it would seem that board number one has been placed at the rear of the visible board.


A spectator is now asked to think of a colour and then name it aloud. When this has been done, the mentalist writes on the blackboard with green chalk: " A . . . Mauve " (or the given colour).

The green chalk is replaced in the box, and the faked pad removed with the left hand whilst the right takes the stick of red and green chalk from the box. Make certain that in picking up the chalk the red part is visible to the audience and at the same time say, " For my second prediction I shall use red chalk."

At this stage the mentalist, whilst apparently writing the second prediction, turns the chalk end for end and in green writes on the faked pad the prediction for spectator A, i.e., the colour. The chalk is replaced in the box, care being taken that the audience is allowed no sight of the green end of the chalk, and the pad apparently replaced on the stand in a similar manner to the first pad handled. The difference lies in the fact that only pad number three with its nested number two is tilted and the faked pad goes between these and the flap.

The second spectator is now asked to name a city . . . and this is written on the blackboard.

The two nested boards are now taken whilst the stick of red-brown chalk is picked up with the right hand. On what appears to be board number three, but which because of the nesting is board number two, the mentalist writes the second person's choice in red chalk. The pack of cards is now taken and a straight force made with a third spectator. The nested boards are replaced on the stand on top of the faked board and the name of the card taken is then written on the blackboard. The pack is dropped back into the mentalist's pocket.

The trick is complete and all the boards above the flap are removed by the mentalist. Holding the boards in front of him with both hands, the mentalist recapitulates and at the same time his right hand thumb presses against the head of the drawing pin and moves it to the right so that the number on this board changes from '2' to ' 1.' " Before this first gentleman named a colour I wrote something on board number one for him." The board is turned round and it is seen that the performer has been successful with his first prediction. The board is now replaced on the stand writing side to the audience.

The right hand moves over to the nested boards, which are in the left hand, and comes to rest underneath them. At the same time the left hand, which for the moment has kept the nest in alignment, releases its pressure allowing the real pad number two to slide into the ¡(right hand. Immediately pad number two is free the right hand turns it round and shows that the second prediction is correct.

After this has registered with the audience and been replaced on the stand, the third pad is turned around showing that all three predictions are correct.

For the record this effect was first performed at the Leicester Magic Circle in the Autumn of 1945.


" WHAT'S NEW IN MAGIC " by Walter B. Gibson (English edition published by Nicholas Kaye, price 15/-).

The ability to express themselves concisely, is a gift that is not enjoyed by all magical writers. Walter B. Gibson has been well blessed by the fairies for not only are his explanations concise but they show an enthusiasm for magic, an enthusiasm that cannot fail to infect the reader.

In this present book, Mr. Gibson has taken in all some eighty-odd feats of magic for the delectation of his readers. He is catholic in his choice and though, perhaps, as is always natural, there is a preponderence of card effects, there are items that will be fitted to every kind and type of magician, though let it be said that to the well read or experienced conjurer there is little that is new or unpublished.

Like that master of explanation, Will Goldston, Mr. Gibson believes that good illustrations can tell a story more graphically than countless words with the result that illustrations, too numerous to mention, help the text and leave no reader in any doubt regarding the working of the trick described.

Nobody can fail to praise such a publication but one feels that it is rather a pity that the English Editor sees fit to paint the lily by stating in his ' Foreword ' that:—

" I venture to state that if the reader takes the trouble to learn the sleights (and they are not difficult) he will need no further knowledge (the italics are ours.—Ed.) on that subject to establish himself as a ' card man' in the truly professional sense."

Such statements in a book written primarily for the lay public can give nothing but a false impression, and we can see the aspirant for magical honours who may use this excellent book as his bible being a little deflated when he does come into contact with not only professional but also first-class amateur ' card men.'

Excellent value, this well bound and well produced volume will make an ideal Christmas present for your wife to give you.

" TWENTY-FOUR ROUTINES WITH ' RUSS' WALSH'S RUBBER TOP HAT," by ' Hen' Fetsch. No price given.

It would be an easier proposition to review the present publication if we had one of the rubber top hats about which the present booklet is devoted. Accepting the fact that the hat which sells at ten dollars in America lives up to its description the routines by ' Hen' Fetsch should enable the owner to produce some surprising results. The hat, a full size one, is made of latex rubber and therefore easily compressible. With this excellent aid, our good friend, ' Hen' has written up a series of some twenty-four items all of which have the typical ' Fetsch' touch, and those who had the privilege of seeing him at Harry Stanley's know that such a touch makes a commonplace trick into a magical effect. Tarbell has supplied some excellent drawings and though descriptions are brief they are clear.

' Russ' Walsh who has given the magical fraternity some nice effects which have stood the test of time, seems to be on another winner here. He pays a very nice and well deserved tribute to ' Hen ' Fetsch on the title page. For the practical worker we feel that there is a worth of material having its use with either children or adults.




Conjuring's greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages.

Price per volume 21/-Postage 9d.


128 4 double size' pages and every conceivable rope trick. The new enlarged edition.

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SCIENCE MAGIC By Kenneth Swezey

A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks.

Price 16/-Postage 1/-


Includes also the full text of Eric P. Wilson's classic, THE ART OF CONJURING TO CHILDREN. 128 pp. Cloth.

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By Lewis Ganson

No need to extol the virtues of this great work.

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By W. Gurney Benham

196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition!

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By Alexander Klein

The World's most spectacular hoaxes, impostures, ruses and frauds. Fascinating!

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The Magic Circle

President: Herbert J. Collings, Esq. Vice-President: Francis White, Esq.

Clubroom and Librarv and Museum : Hearts of Oak Buildings, Euston Road. London, N.W.I.

Magical Theatre

27th November—


Particulars front Hon. Secretary .

Peter Newcombe 38 Overdale Avenue New Maiden, Surrey



is published on the 24th of each month and can be obtained direct from the publishers for 1/7 per single copy. Annual Subscription 18/-

post free. PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex

Manuscripts for publication and books for review should be sent to the:


Peter Warlock, 24, Wordsworth Rd., Wallington, Surrev.


will be pleased to send you full details of


together with all his other effects in return for a stamp.

Write now to

Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.

Every Advertiser's goods are fully endorsed by this Bulletin


FRED LOWE is a lover of natural magic. The pretty boxes and silk screened cutouts have little place in his magic life. He took up magic some twenty years ago, and all the items he has published have the quality of straightforwardness in plot and technique. The present three items are more than welcome.

The cup and ball routine is something quite different, and can appeal equally in a room or on a stage.

In the main Fred presents either a two or one person mental act, at the same time never neglecting sleight of hand and close-up magic. North of England magicians know him well as he lived in the Liverpool area for many years and was a most active member of the Mahatma Circle of Magicians, Two years ago he moved south and took up residence near Portsmouth. Wherever there is a gathering of magicians, Fred will endeavour to be there.



ABOUT nine years ago Roy Benson published a very effective routine in "The Phoenix." The routine employed a small bowl and sponge balls and was, in effect, the cups and balls with only one cup. I liked the routine from the first reading and used it in a " Gilly " Act from 1949 onwards. Bruce Elliott included the trick in his "Classic Secrets of Magic" and this popularised it to some extent.

As we know, the Cups and Balls (with three cups) can become a little confusing to a lay audience and Benson's routine certainly made the effect very clear-cut. In fact I began to think that the effect was a little too simple and that the moves, although not seen, could be worked out by the astute spectator. Thus—ball apparendy placed in left hand disappears and appears under the cup. A second ball apparently placed in left hand dis

appears and now there are two balls under the cup. The knowledgeable layman (and the great educational medium of television is increasing the number daily) assumes that the ball which was vanished from the left hand remained in the right hand and from there was introduced into the cup. I had the chastening experience recently of having most of the moves of the cups and balls explained to me by a layman whilst we were watching a television performance of the routine.

It was as a result of this reasoning that the following routine was devised, and even experienced performers may find the moves difficult to follow when watching a performance. The simplicity of effect has been retained and the use of three differently-coloured balls is a change from the usual.

The effect

Performer shows a cup and three balls—red, yellow and blue in colour. The yellow ball is vanished and appears under the cup. The red ball is then vanished and joins the yellow under the cup. The blue ball then vanishes and joins the other two under the cup. All three balls are placed in the pocket. The blue ball jumps from the pocket under the cup. Blue ball is replaced in pocket and the red ball jumps from pocket under the cup. Red ball is replaced in pocket and the yellow ball jumps from pocket under the cup. Finally performer states that he will make all three balls jump from pocket under cup but when cup is lifted there is one large ball coloured red-yellow and blue.

Properties required

A cup—one from a set of cups is ideal. I use a large heavy brass cup with a mouth diameter of three and one-quarter inches. Six sponge balls (two yellow, two red and two blue). I use balls of one and one-quarter inches diameter. The balls must be very compressible and I have found the best sponge for the purpose is the very light nylon sponge which can be obtained at any chemist or large store. Unfortunately the colours are pastel shades and I found it necessary to dye the sponge. The dyeing is simple. Obtain some " Dylon " make dyes and use a very concentrated solution —about a quart of boiling water to one dye. Put the sponge in the solution and leave for a few minutes—it takes the colour quite rapidly.

A wand. If possible not a black wand with white tips. A large sponge ball made up of the three colours used. Simply stick pieces of sponge together and cut the ball to shape. This ball must be cut to a size which will allow it to stick in the top of the cup.


As I perform the effect in " Gilly " style a fez is worn and the fez is used in the routine to obtain and discard some of the balls. I will describe the routine exactly as performed and append one or two suggestions for those who would not want to use a fez.

The properties are set as follows. Three balls —yellow, red and blue, on table covered by cup. Wand on table. A yellow ball and a red ball are tucked under the shirt collar at the back of the neck. These balls are touching each other with the yellow ball on the left. A blue ball is in the fez—I frequently have the fez on the table with the ball inside and place the fez on the head before commencing the routine. Done smoothly the ball will not fall out. Large ball is in the right jacket pocket.

Take cup in left hand and wand in right hand. Rattle wand inside cup saying, " The oldest trick in the world—one brass cup. Nothing in him." Replace cup on table clear of the balls. Move the three balls in turn with the tip of the wand saying, " Three little balls—the yellow, the red and the blue." (Obviously this patter is given with a " Gilly " accent but it needs little change if working " straight.")

Place wand under left arm and take yellow ball at right fingertips saying, " The trick is to make the yellow ball vanish and go under the cup." Place the yellow ball into the left hand (use the same movement which you use when palming in the right hand later). Take wand from under arm with right hand and tap the left hand. Look at the cup and tap the top of the cup. Replace wand under left arm and lift cup with right hand. Say, " Ah! He has not gone." Look at left hand and slowly open the hand revealing ball. Say, " Sorry—I will try him once more." Apparently place ball in left hand, palming in right hand. Take wand in right hand and tap the left hand. Smile and open the left hand saying, "He has gone." Replace wand under left arm and lift cup with right hand, look inside cup and say, " Not there." Replace cup on table saying, "Where has he jumped to—Ah! I feel him." In replacing the cup on the table introduce the palmed yellow ball under the cup. Reach behind neck with right hand and take the two balls from under the shirt collar. The red ball is concealed by the finger tips and the yellow ball is visible. Say, "Ah! there you are." Place yellow ball on top of cup.

At this point, although you have not yet done what you promised (viz., made the ball vanish and go under the cup, you have done one pass and, more important, have conditioned the audience so that they do not know what to expect. Also at this point there is no suspicion that a yellow ball has been loaded under the cup because even the astute spectator will reason that the ball produced from the neck was the one vanished.

The position is now thus: Yellow ball concealed under cup. Yellow ball on top of cup. Red ball concealed in right hand. Say, " I will try again."

Take yellow ball from top of cup with right hand and apparently place into left hand, finger-palming in right hand. Take wand from under left arm and tap left hand. Show left hand empty and replace wand under left arm. Take cup in right hand with the fingers near the bottom (mouth). The back of the hand should be towards the audience and the thumb on your side of the cup. Lift cup and reveal yellow ball—do this slowly to avoid suspicion that you may be dropping a ball from your hand as you lift the cup. Pick up yellow ball with left hand and as you do this turn the right hand so that the top of the cup is pointing towards the audience. As the left hand moves up from the table holding the yellow ball it passes between the audience and the right hand and at this moment you release the two palmed balls from the right hand continuing the turn of the cup until the cup is mouth upwards. Replace cup mouth upwards on the table.

Take yellow ball from left fingertips by the right hand and hold the ball up saying, " At last the yellow do what I tell him." Apparently place yellow ball in the cup, fingerpalming in right hand. Do this quickly and casually. Pick up red ball with right hand saying, " Now the red ball." Apparently place red ball in left hand, palming in right hand. Take wand with right hand and tap left hand, showing empty. Replace wand under left arm. Take cup with right hand slowly turning the cup mouth towards the audience and allow the red and yellow balls to roll slowly out. Cover the balls with the cup.

Say, "Now the blue ball." Take blue ball from table and apparently place in left hand, palming in right hand. Take wand in right hand and tap left hand. Do not neglect this bit of business because at this stage you will have three balls palmed in right hand and the handling of the wand is good misdirection. As the balls are very compressible they can be held tightly by the third and fourth fingers of the right hand.

Show left hand empty and replace wand under arm. Say, " The blue ball has gone under the cup." Lift cup with right hand and say, "Not there. Where has he gone. Ah! I feel him—in my tarboosh." Replace cup over balls on table. With left hand take fez from head with hand on top of the crown and hold fez upside down in left hand. Put right hand inside fez and relax the right hand allowing the balls to expand, then retain the blue ball (which will be nearest the thumb) and drop the red and yellow. Pick up the other blue ball between right first finger and thumb and bring hand away from the fez. Replace fez on head with left hand. This reads long but only takes a moment and to the audience you have simply produced the blue ball from your fez.

Take blue ball at left fingertips and hold it close to the cup. Speak to the ball saying, " Now, no more tricks from you—I want you to go under the cup with your two brothers." As you say this pick up the cup with the right hand. Replace the cup and introduce palmed blue ball. I favour an upward throw move here to avoid interference from the other two balls as you introduce the blue ball. This " upward throw " move is that used when loading a ball between two cups in the classic cups and ball routine.

Vanish ball from left hand and lift cup showing all three balls. Replace cup on table introducing the palmed blue ball. Take the wand with the right hand and separate the three balls on the table with the tip of the wand. Place wand on table.

Pick up blue ball and place in right jacket pocket—tuck the ball in the small ticket pocket which most suits have inside the right side pocket of the jacket. Now take the yellow ball and place this also in the right side jacket pocket—just leave it in the bottom of the pocket. Now take the red ball and apparently place in the same pocket but finger palm in right hand.

Say, " The blue ball will jump from my pocket under the cup." Lift cup with right hand and show blue ball. Take blue ball with left hand. As you do this let the cup tilt with the top towards the audience and allow the palmed red ball to roll inside the cup. Replace cup mouth down on table with red ball concealed beneath.

Take blue ball into right hand and place in pocket—before releasing it pick up the loose ball in the pocket, which will be the yellow ball, and finger palm it as you bring the hand from the pocket. Say, " The red ball will jump from my pocket under the cup." Lift cup with right hand revealing the red ball. Pick up the red ball with the left hand and introduce the palmed yellow ball with the drop move.

Place the red ball in the pocket and palm out the large multi-coloured ball, compressing it small in the finger palm. Say, " The yellow ball." Lift cup with right hand and reveal yellow ball. As you pick up the yellow ball with the left hand allow the large palmed ball to roll into the cup. Replace the cup gently on the table, mouth down. The ball will stick in the top of the cup.

Place the yellow ball in the pocket. Say, " All three balls will jump together." Lift cup and say, " Not yet." Drop cup back on table to dislodge ball. Clap hands together and lift cup revealing the large ball.

Comments and further suggestions

Although this description is lengthy the routine is not long in performance. None of the moves will give any trouble to any performer reasonably competent in the craft.

Anyone who wishes to work the routine " straight " and dispense with the fez will have to work out another method of obtaining the second blue ball and disposing of the yellow and red. One way would be to have a small box to contain the properties. This could be on the table and the cup, wand and balls taken from the box to commence the routine. The box could then be used instead of the fez to effect the necessary change of balls. Of course, a dignified performer would always wear a bowler hat and use his umbrella as a wand!



WE MUST all agree that novelty and surprise plays a big part in the audience appreciation of a magical act. Before television many people saw magic on odd occasions with often long intervals between performers. In those days even the regular theatre-goer saw only a small fraction of the magic which almost everyone sees today via television. Because of this it is becoming increasingly more difficult to have novelty and surprise in one's act.

One of the best ways of overcoming this problem is to use well known effects in a different way. The surprise will come when the effect does not progress on the expected lines. I am sure this is the reason why the following presentation of an old effect has proved very successful in my own performances.


Performer shows a small black bag and an egg. He states if he places the egg inside the bag, the egg will vanish. He places the egg inside the bag and goes through the usual business but the egg has not vanished. He trys again without success. He then says that perhaps he has the thing the wrong way round and will try to vanish the bag inside the egg. Holding the egg in his hands he apparently tucks the bag into the egg because he is able to show his hands empty except for the egg. He then reveals the secret by turning the egg around and showing that the egg has a hole and that the bag is inside the egg.

Performer now confesses that he has not told the truth about the secret, in fact dare not under Union rules. He removes the " hole " from the egg and breaks the egg into a glass.


Small black silk bag, about seven inches by five inches. Use an old silk dyed black. Keep the trimmings to use for the " hole " in the egg. Simply cut a small circle of the silk, about the size of a penny, and attach it to the egg with two or three dabs of Melrose. This is far preferable to painting on a black "hole" because (a) the effect is strengthened when the audience see you remove the " hole " before breaking the egg; (b) at close quarters it really looks as if the bag is inside the egg. Do not be tempted to use one of the fake eggs which contain an imitation yoke. I cannot, and have never seen, one of these eggs " broken " realistically. A handkerchief vanisher of the pear shape—elastic pull type. This is fixed with the elastic anchored at the back of the trousers, the elastic then runs through a safety pin just over the left side pocket of the trousers and the container remains in that position when not in use.


Have the egg inside the bag. Display the bag and reach inside producing the egg. State that you will place the egg inside the bag, from there it will vanish and go into your left trousers pocket. Place the egg inside the bag. Take the bag in the right hand. Feel in left trousers pocket, look surprised and remove hand. Transfer bag to left hand, then remove egg from bag with right hand. Repeat these moves but when placing the left hand inside the left trousers pocket take the vanisher inside the pocket. Remove the hand with the vanisher, take bag in left hand and produce the egg with right hand.

Say that you will try to vanish the bag inside the egg. Holding the hands together the egg is held by the right third and fourth fingers whilst the right first and second fingers tuck the bag into the vanisher. Say, " The bag is now inside the egg," and as you say this move the right hand away with the egg at the fingertips. Turn the egg so that the black patch can be seen and at this moment release the vanisher.

Now " confess " to the audience that you have told a lie and that you have not told the real secret, etc. Slowly peel off the black patch from the egg. During this make sure that the audience see that both hands are empty except for the egg. Break the egg into a glass—do not rush this. Look at audience and say, "Of course, this is a very expensive trick. Every time I do it I lose an egg and a bag ! "


You may, of course, dispense with the vanisher and simply tuck the silk into the right fingerpalm, disposing of the silk when picking the glass from the table. This would, however, weaken the effect because the best time to show the hands empty is immediately after apparently tucking the bag into the egg.



UP TO a few years ago not many people in this country had seen dice stacking. Today most conjurers have seen dice stacking and many close-up workers can perform the feat. It is undoubtedly interesting to watch but there is a shortage of routines using the principle.

To make the following routine understandable to those who have not seen dice stacking it may be as well to give a brief description. Performer uses a dice cup and four dice. Holding the cup inverted, i.e., mouth downwards, he picks up the first die from the table with a flicking move. By moving the cup from side to side (still inverted) with an even rhythm the die will remain in the cup. The other dice are picked up similarly —the cup is slid along the table and stopped suddenly. On lifting the cup all the dice are in an upright stack. This can be done with two, three, four, or more dice. Full descriptions of how to stack dice are given in " Shoot the Works " by Ed Mario and " Dice Dexterity " by Audley V. Walsh.


Performer shows two dice cups and eight dice. Five are black dice and three are white dice. Performer then demonstrates how dice can be stacked. He then places three white and one black dice in a row and picks them up with the cup, leaving the cup on the right side of the table still covering the dice. The other cup is shown empty and placed inverted on the left side of the table. The right hand cup is lifted revealing only three white dice. The left hand cup is lifted to reveal the black die. The black die is picked up with the cup and cup replaced on table. Performer adds another black die to the three white dice and picks up all four with the right hand cup. On lifting this cup the black die has vanished leaving again three white dice. The left hand cup is now lifted and two black dice are seen stacked.

This sequence is repeated twice more so that the left hand cup reveals four black dice stacked. The three white dice are then picked up with the other cup and left covered. The remaining black die is vanished and on lifting the right hand cup is seen to be in the middle of the stack of white dice.

Properties required

Two dice cups, six black dice and three white dice. One of the cups is faked and has a magnet in the base. All the black dice are loaded with metal.


I cannot give exact measurements of the cup because this depends upon the size of dice used. My own cups are straight sided and made of leather. Assuming that the dice to be used are threequarter inch size the faked cup should be made with an inside depth of three inches plus the extra space needed for the magnet and a thin false bottom. When four dice are stacked with this cup the top die will be touching the top of the

cup and if the cup is lifted reasonably gently the die will be attracted by the magnet and held in the top of the cup. The unfaked cup should be made with the same outside measurements as the faked cup. The mouth diameter of the cups should be three times the length of the dice used, or slightly less. Thus with threequarter inch dice the mouth diameter of the cup should be two inches approximately.

Loading the black dice with metal can be done in several ways. I drilled out some of the spots on each face and inserted short lengths of metal rod, afterwards repainting the spots. This is rather labourious and I see no reason why all metal dice could not be made. Hie amount of attraction the magnet should have for the faked dice is governed by the following factors: (a) It must be sufficient to hold the die in the top of the cup when the cup if lifted from the stack; (b) A slight shake of the cup should be sufficient to overcome the attraction of the magnet and allow the die to fall into the fingers.


Before commencing unfaked cup is on left of table with a black die beneath the cup (cup is mouth down). The faked cup is to the right and the other five black dice and three white dice are on the left rear of the table.

Lift both cups simultaneously, one in each hand. The die concealed under the left cup is pressed against the inside of the cup by the left fourth finger which curls beneath the cup as the latter is lifted. Left cup is replaced and you then use the right (faked) cup to demonstrate dice stacking. Use three white and one black dice for this demonstration and always pick up first a white die. Then lay out the four dice in a row and pick them up with the cup, the first die picked up being the black die. Leave the stack covered by the cup and state that the black die will go to the other cup. Lift right cup with the right hand and reveal only three white dice stacked. With left hand place the three white dice in a row and whilst doing this shake the right cup slightly and dislodge the black die—curl the right fingers beneath the cup to catch the die. Replace right cup near the white dice.

With the right hand lift the left cup revealing the black die. Pick up this die with the cup and whilst shaking the cup allow the palmed die to shoot up inside the cup. Replace the cup on the table with the two dice stacked beneath.

Repeat the complete sequence by adding another black die to the row of white dice, picking up the stack and passing the black die to the left cup. To the audience two black dice have now passed across to the left cup. Repeat the sequence twice more and lift the left cup showing four black dice stacked. Place the left cup down to one side of the black stack.

Right hand still has a black die finger-palmed. Take the right cup in the right hand and pick up the three white dice, loading in the black die after picking up two of the white dice. Leave cup on table covering the stack. Take the remaining black die and apparently place in left hand, palming in right hand. Pretend to throw the die from the left hand through the right cup, then lift cup revealing the stack—the black die will be next to the bottom of the stack.

Throughout the above description the expression " picking up " the dice refers to the method used in dice stacking of picking up dice from the table with an inverted dice cup.


MAGIC MINE No. I by Stewart James (Published by Harold Sterling, Royal Oak, Michigan. Price unknown).

Any publication by Stewart James is something of an event and something that those who talk the same magical language as myself more than welcome.

Those who purchase this book will be well rewarded for in easily understood language are arranged some dozen effects all of which bring into play some subtlety or idea which typifies the originator.

The first item, ' Silversion' is a subtle variation on the old classic the ' Coin in Bottle.' In this case, however, the performer using a sealed milk bottle containing water succeeds in evolving a practical method in which a borrowed and marked coin manage to get inside without damage to seal, bottle or coin. The effect which follows, ' Cheerio Glass ' is a good platform effect in which a glass of milk vanished from a paper serviette covering to appear in an empty hat. Squaring the square is a nice item for the mathematically minded, the kind of item for Rotary or similar ' Do's.'

Another item having a mathematical flavour is ' Count of Monte Cristo.' Colourful because of the Poker Chips used and effective because the performer achieves an excellent prediction.

The item which follows, is for me and I think many others a gem. Entitled ' Double Ring Ceremony ' and evolving in effect from the ring effect which Stewart described originally in ' Sefalaljia,' the performer causes two rings (borrowed if needs be) to pass on to a length of cord, rope or ribbon, both ends of which are in view of the audience.

Just as the original ring effect became subject to variation, this too will be adapted and become a firm favourite with close-up workers. In its form as described the reader will have a first-class platform effect, simple in method and working and one which leaves no room for explanation in the minds of the audience.

Indian Giver,' an effect using three eggs is another grand platform effect which would make ideal children's entertainment whilst ' The Gofar Bali' also a platform trick involving the use of a rubber ball and two tubes offers one of the most mystifying transpositions that can be envisaged. 4 Astral Dagger ' is for the after dinner show. Two drinking straws, free from any preparation after being placed in an examined tube are magically cut in halves with the 'Astral Dagger,' 'Let the Chips Fall' shows how that old classic, the ' Patriotic Billiard Balls ' can be revamped when plastic cups and coloured poker are substituted.

' Unwritten Predictions' is for the mentalist and takes the hard work out of second dealing. ' Siatest' another mental effect brings into play an idea seldom used and builds up a very nice prediction.

Closing the book, Stewart offers ' Hotele-pathy ' a platform effect full of entertainment value and making use of that seldom seen prop, ' Attaboy.' We feel certain that after reading this item and realising its potentialities, there will be a steady run on this very valuable and ingenious piece of apparatus.

Recommended unreservedly and wholeheartedly.

" SANTA'S WORKSHOP " by Amalfi (Published by Goodliffe the Magician, price 10/6).

In the literature of conjuring, books dealing with that highly specialised branch, children's magic are comparative rarities. Because of this a new addition is always welcome.

Mr. Tunnah, who uses the nom de plume of 'Amalfi' has a streak of Waller in his magical make-up and this shows to great advantage ten excellent effects that he details in this publication. Because it gives the book its title we would well commend " Santa's Workshop " to the notice of all readers on the look-out for an excellent production finish. There is something fairylike in its conception . . . Santa Claus's workshop is built up in the form of a small house . .. there is the sound of " Jingle Bells " being played in a mysterious manner by a musical box . . . Santa himself makes his appearance from the chimney of the workshop and later from inside a vast production of presents can be made. Delightful magic especially for small children. Then there is " Novelty Cracker " in which after pulling the cracker apart a lighted Christmas tree is produced . . . magical stories, " The Pop Inn" and " The Xmas Sledge." Items with a measure of illimitable humour like " A Xmas Photograph " and " Holly, Mistletoe and Ivy," whilst " Turkey Trouble " gives that necessitous " sucker " trick in a new guise.

Additional pieces like " Christmas Bell," " Memory Test for Children," " Decoration Paper Tear," and " Song Session," all add to the generous measure given and to conclude the author gives some excellent and practical advice on the painting and colouring of various props. To the conjuror who likes to make pieces of apparatus, he will find a wealth of inspiration in this book. As additional information, for those living in or near London, may we mention that Kettles, in New1 Oxford Street (next door to Davenports), is a gold mine for those who wish to get carboard tubes, boxes, fancy papers, etc., which they will find of great use in making up some of the excellent ideas of Amalfi.

Excellent value.


OCTOBER saw the Annual Magic Festival of the Magic Circle at the Scala Theatre. The greatest commercial success ever we understand though the show was more than pedestrian when we saw it on the opening night, the outstanding spots being the non-magic acts. Our greatest admiration was for the stage managers who with little time to make advance preparations made the stage sets most attractive. For artistry in presentation on the night in question we would pick out Esme Levante, Milbourne Christopher and Robert Harbin. We felt that the last two named could have used material that had not already been seen by many through the medium of TV.

Talking of TV reminds us that Piet Forton, winner of Micro-magic prize at the Zwolle Convention and who many magicians in this country met when he visited here, starts a TV series in his native Switzerland. Table magic will be the order of the day.

We've a lot to thank Fred Lowe for in providing this issue. Regarding Fred, we've heard nothing but praise for his close-up magic organisation at the recent Portsmouth Day of Magic. The difficulties of presenting table magic to a large audience are too well known for us to comment upon them, but Fred seems to have arrived at a formula which with efficient organisation is the answer to the question.


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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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