The Magic Wand

Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now on sale

MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle—including a clever vest-turning stunt.

PARTY FOR PAMELLA by JACK GITTINGS con tinues the outstanding series for the children's entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations for standard props, patter, tips, routines, etc.

MY MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you'll not be able to avoid getting laugh upon laugh if you use this item. It's ideally suited to adult or children's shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box.


describes his beautiful FLYING SALT routine, and you do not need to buy expensive proas for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING.

THE QUEEN OF THE RIBBON CAGE by CLETTIS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than £5, is colourful, baffling and entertaining.

THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show.

KOYNINI'S SEVENTEEN by TONI KOYNINI is a feature card routine for the mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards to the pack. All with the performer's back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator's pocket, and says which spectator it is, and tells the other spectator how many cards he originally held but returned to the pack!

A SILK PRODUCTION by TRAVERS COOPER is just what the title implies, but it is beautifully routined and is an example of perfect magic.

THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic.

SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routine for the children's entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You'll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!)

TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. A card, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the items just named! Easy to make and do! Also a TOP CHANGE stunt for the card enthusiast, and a CARD PREDICTION using a slate in a new and novel way. And as much more fine material again, which we have not the space to list here. A total of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 in now OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.

Price: 7/6, Postage 7d. For this Giant (8i x 11 in.) Book.


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THIS IS another of my methods of working the effect in which you are apparently able to add together several large numbers at lightning speed. It is not for me, of course, to say if it is any better or worse than the four or five other methods which I have originated during the past few years, but I do think that it is an interesting one.

In an earlier method, called " Addendum which was published a couple of years ago, I used the well-known principle of figures adding together to make rows of nines, but, to avoid the usual procedure in this of having only half of the numbers provided by the audience and the other half by the performer, I arranged for all the numbers in the addition to be chosen by a spectator by cutting a long line of figures on an endless band of gummed paper into several short strips. This was done, the performer was careful to explain, not for his benefit but to speed up the effect and to lessen the amount of mental effort required of the spectator.

In both of these respects the method which I am about to describe now is somewhat similar.

There is one important difference, however. In the earlier method the figures were written side by side in a long row: in this present method they are written above one another in a long vertical column. This, unfortunately, does mean that there is now a greater risk of someone noticing that alternate pairs of figures add to nine, but it also means that there is no longer the need for the performer to secretly add an extra group of figures of his own to those obtained by cutting the endless band.

The actual band of figures that is used is shown in Fig. 1. The complete column of figures (which could not be shown in the illustration), is as follows: 4, 5, 0, 9, 6, 3, 8, 1, 2, 7, 6, 3, 0, 9, 2, 7, 4, 5, 8, 1, 0, 9, 6, 3, 4, 5, 2, 7, 8, 1. From this you will see that there are thirty figures in all and that the total of alternate pairs (of 4 and 5, of 0 and 9, of 6 and 3, etc), is nine.

In performing the actual effect, a spectator is asked to cut the band at any point between the figures to make it into one long strip. This is then cut up into six equal strips each containing five different figures. The spectator is finally asked to stick these six strips side by side on a blackboard to form a straight-forward addition sum containing six 5-figure numbers.

Now, although there are 30 different ways of cutting the band to make a single strip, there are only 5 different ways of cutting it into six equal shorter strips. But, in addition to this, there are 6 different ways of choosing the strip to make the first column of figures on the left, 5 ways of choosing the second strip, 4 ways of choosing the third & so on. The total number of different arrangements which can be made from the endless band is, therefore, 5x6x5x4x3x2x1 which is 3,600.

In spite of this you are able to call out the answer (from left to right or from right to left), as quickly as anyone can write it down as soon as the strips have been stuck in position and with little more than a " casual" glance at the actual sum.

VOLUME 12, No. 12 - 1/6. (20 Cents) - SEPTEMBER 1958

The method of doing this can be explained most easily by referring to the two examples in Fig. 2. (To make the explanation as clear as possible, the pairs of figures which make two rows of nines are bracketed together in these illustrations but this, of course, is something which is not done during an actual performance).








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From this you will see that the example in Fig. 2a is equivalent to 603459 + 199998 = 2603493, so that the answer can be obtained, without the trouble of carrying out the actual addition, by writing down the unmatched figure in each column, subtracting 2 from the one at the extreme right and putting 2 in front of the first figure at the left. You will be able to do this quickly and correctly if you follow these four rules.

(1) The first figure in the answer must always be 2.

(2) Look at the figure at the top of each column in turn. If it is odd, this is the figure which must appear directly below in the answer: if it is even, the figure in the answer will be the even figure at the foot of the same column. (This follows from the fact that the upper figure in each pair which make nine is even.)

(3) Subtract 2 from the figure which you obtain in this way in the last column on the right and use the result instead of that figure in the answer.

(4) If the figure at the top of the last column on the right is even and the figure at the foot of this column is 0 (as in Fig. 2b), you will have to borrow 10 from the next place to the left in the answer before you can subtract 2 to get the last figure. But be careful then to remember that this will reduce this second figure from the right by 1: thus, the correct answer in Fig. 2b is 2936088 as shown, and not 2936098.

After a certain amount of practice you will find that the working can be done very quickly without any hesitation.


NO ORIGINALITY is claimed for the plot of this sequence which is identical with that entitled "A Surprising Solitaire" in Ralph Hull's " Eye Opener ". The main features were first shown in Hull by Dr. Leo Levi, of Vienna.

I have modified the spelling bee climax to the sequence and, finding the whole relatively unknown among magicians while registering well with laymen, consider it worthy of detailed description.

Taking a shuffled pack of cards you offer to demonstrate a novel form of Patience game.

Phase One.

Assuming that Spades is the suit to be produced by the spelling in the later phase three, remove from the pack: Any ace, other than spades, the two and three of spades and the four of either clubs, hearts, or diamonds. We'll assume that you have the ace of hearts and the four diamonds. Lay the cards face up in the following order:—

You point out that you have removed an ace, a two, a three and a four ... the suits are immaterial. Now place opposite each of these four cards, a card of double the value as shown in (2). Note that none of these double valued cards belong to the spades suit. These eight cards constitute the initial layout.

State that the object of the game is to get rid of all the cards in hand by simple addition. For ease of working deal with the pairs in the following order: —

(a) The " 4 of diamonds " pile: since 4 plus 8 equals 12 you place a Queen (12) on top of the eight (all cards face up throughout this phase. Now 4 plus 12 equals 16. Since the maximum possible is 13, i.e. a King, 16 is treated as 3, i.e. 3 over 13 thus a 3 is placed on the Queen. Continue placing the cards out in this way until a King is dealt and then place all the cards on top of the 4. Please note that no " spades are used in making up this pile."

(b) The " two of spades" pile. The same addition technique is used but note . . . ONLY THE " SIX " IS A SPADE. This stack will be: 2S, 4, 6S, 10, Q, A, 3, 5, 7, 9, J. K.

(c) The " Ace " pile. Use the same addition method but note . . . THE 8, 9, Q and K ARE SPADES. This stack will be: A, 2, 3, 4, 5, 6, 7, 8S, 9S, 10, J, QS, KS.

(d) The "Three " pile. Again use the same form of addition. There is no need to remember which cards have to be spades since the formation of this, the fourth pile, is automatic. This stack will be: 3S, 6, 9, Q, 2, 5S, 8, JS, AS, 4S, 7S, 10S, K.

You thus end with four piles with a King on top of each and you show that this phase of the Patience game has been successful. Assemble the pack by picking up the piles face up thus: —

The "ace" pile followed by the "three" pile, then the " two " pile and finally the " four " pile. Turn the pack face down. Phase Two.

False shuffle and false cut so as to leave the entire sequence unchanged. In this phase the cards are dealt face down. Deal the top thirteen cards thus: —

Show the face of the next card—it will be a " three ". Place it face down on top of the third card in the layout. Place the next three further on, i.e. on card number 6, and continue placing at intervals of three round and round the layout until a card is dealt at position thirteen, then stop.

Show the top card of the pack to be—it will be a " two "—then place in position two and continue placing to positions four, six, eight, ten, etc., until a card is again dealt to position " thirteen ".

Again show the new top card—it will be a " four ", and place it at intervals of four until all the cards are dealt, the final card falling on position " thirteen ".

The second phase of the "patience" game has come to a successful conclusion.

Re-assemble the pack by placing pile on pile two, both piles on pile and so on.

Phase Three.

You now offer to show a remarkable feature of this form of " Patience ". Spell A-C-E by placing two cards one at a time from the top to the bottom then dealing off the third card face up and showing that it is the ace of spades. Repeat the process with T-W-O and the card dealt will be the two of spades. ALWAYS TURN UP ON THE LAST CARD OF THE SPELL. Continue through the pack to K-I-N-G and the full suit of spades will have been dealt in sequence. (As a point of interest this result is due to the fact that the letters used in spelling the words "ace" to " King " add to fifty-two, thus after the spell the pack is returned to its original order.)

To conclude, run through the pack, and, taking the cards in threes, throw them face-up on to the table. They will appear as three aces, three twos and so on up to the three kings. This run through should be done with rapidity.

A Presentation Idea.

Whilst the version described using normal cards registers well with laymen, the following addition ensures even greater interest, particularly with male spectators. Obtain a " Wolf deck " or one of the new German " Pin-up " girl packs. In the German pack there are three Jokers. These should be on top of the pack.

Hold the pack faces down as you make your opening remarks. Comment that "Patience" is considered by many to be a boring game. This, you claim, is only because of the cards used. " With these, (flip the three Jokers face up on to the table one by one), " Patience " can be quite interesting!

Place the Jokers aside and proceed with the routine as described above.



THIS IS the sort of thing that I like to do between a couple of proper tricks. I find that it helps to separate one trick from another and also provides a little comic relief in a programme which might otherwise be too completely mystifying and rather heavy to digest.

It is merely a slightly elaborated version of an old match stick puzzle, but I find that the different method of presentation tends to make it look like something new and also makes it easier to show to a large audience. In its original form you would need a blackboard and some large dummy match sticks fitted with sharp pins to make them stick on to it.

Figures 1 and 2 represent the two sides of a square sheet of paper on which there are a number of thick black strokes. These must be made in

ficuéte z exactly the same positions shown in the figures. With a dressmaker's wheel or the needle of a sewing machine (without any thread in it), perforate the paper along the dotted line. This is to make it easy for you to tear off the narrow strip at the side.

In presenting the effect, turn the paper over and over to show that there are five strokes on each side—making a total of ten strokes altogether.

Then say that, strangely enough, it is still possible to see ten even when one of the strokes is removed. As you finish saying this, tear off the narrow strip at the perforations and hold this up to show that one of the strokes has been torn away with it before you crumple it up into a ball and throw it away.

Then turn the rest of the paper over and over as before as if to show that there are still ten strokes on it. Everyone in the audience, however, can plainly see that there are only nine.

To prove that you are right (and that they are wrong?), fold the paper from top to bottom along the line X-Y and hold it up to the light so that everyone can see, not ten strokes, but the word TEN in block capitals!


No more words of explanation should be needed.



THIS IS an effect which does not take long either to describe or to perform. What happens is that a spectator is allowed to feel at each page of a magazine (and even encouraged to pierce them as many times as he likes with a large knife or skewer), whilst you are holding the magazine at arms length. Then, when he is satisfied that there cannot possibly be anything hidden inside it, you quickly tear the maga-

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zine in two and produce a solid-looking metal tray from amongst the torn pages. As you can imagine, this usually produces a gasp of astonishment. For there does not seem to have been any part of the magazine in which the tray could have been concealed.


The preparation of the magazine is quite simple, however. Any large one can be used, and only one copy of it is required.

Open it at the centre pages and remove the wire staples which hold it together. Without dis turbing the order of the pages, divide the magazine into two equal sections and staple the pages in each half together again, as in Fig. 1.

Place the tray upside down between the two sections and then carefully paste these together round their edges, as in Fig. 2.

When the magazine is opened out flat, the tray can now slide freely from one end to the other. Close it with the tray in the back or right-liand half of it, and it is then ready for use.

In presenting the effect, pick up the closed magazine and show both sides of it. Stand with your left side turned towards your audience and have the spectator who is going to assist you facing you (so that his left side is turned away from them).

The tray has been sealed in the magazine with its top (or concave), surface towards the back so that, if the magazine is in your right hand with your thumb against the front cover which is facing the audience, the tray will be hanging quite naturally by its rim from the tips of your fingers through the thickness of the back pages, as in Fig. 3. (The spine of the magazine should be parallel to the floor, of course, so that you are holding it by the opposite longer edge.) As you now turn down the pages one by one from front to back with your left hand, the spectator is easily able to feel each of them with his left, or to pierce any of them with a knife or skewer held in his right, without obscuring the view of the rest of the audience.

At any time after you have passed the first pair of pages which are pasted together at the edges, you can slightly release the grip of your right hand on the tray to allow it to drop from the upper half of the magazine to the lower.

Then, when the rest of the pages have been felt or pierced in turn, take the magazine and hold it in both hands with the back cover towards the audience. Quickly tear it down the centre and produce the tray from inside.

If you have not already told the audience that you are about to produce something from the magazine, the sudden appearance of the shiny metal tray will be quite unexepected.

The same method can, of course, be used for the production of a plate, a gramophone record or a slate. If possible, however, you should try to arrange for it to be something which you require for your next effect so that you can have a sufficiently good reason for producing it in such an unusual and illogical fashion.



THIS IS a method of magically revealing a " freely " selected number by means of a number of matches hidden between a couple of shallow trays. From the point of view of your audience it will be similar to the effect in which a quantity of confetti is poured on to a plate and then immediately tipped off again to show that some has become stuck to it to form the name of a playing card. The use of a few matches instead of confetti, however, seems to have two possible advantages. One is that, by using matches, you avoid the sort of mess which can be made by scattering confetti; the other is that, to some extent, the spectator does have a perfectly free choice.

First of all I shall describe the preparation of the apparatus and then explain the way in which it is used.

Apart from a couple of small shallow trays, you require twenty-seven matches, a little glue (or Copydex), and a pack of numbered cards. (Instead of the trays you can, of course, use a couple of plates or even a pair of slates without a flap.)

The appearance of the first or bottom tray is shown in Fig. 1. To begin with, nine matches are

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stuck in position to form the word TEN. the tray is then turned around (so that the word TEN is upside down), and eight more matches are scattered loosely around and between those already in position so that, with the letters of the word TEN being upside down and not arranged too neatly, the tray just appears to have a few matches scattered loosely upon it.

Figure 2..

The appearance of the second or top tray is shown in Fig. 2. From this it will be seen that the

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