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PiMR WARIOCK

tet ALPHA represent a conjurer and BETA an 'assistant from the audience. ALPHA presents a school satchel telling the audience that it belongs to his young nephew. Unfastening the straps he removes about half of a dozen books, five of which should be read at school, and one which obviously shouldn't.

Next he removes the slate, a piece of chalk, a small writing pad and a pencil. (If he Is a performer who essays the humorous manner he will no doubt fill In time by removing lengths of string, bits of toffee and the like) "There Is Magio In everything" remarks ALPHA, "Even In a schoolboy's satchel; perhaps you, sir, would like to see if I have left anything behind." BETA looks In the satchel and, If observant, will fish out a piece of cambrlo which he hands to ALPHA who thanks him.

"Fancy missing that," says ALPHA, "You are quite sure that there Is nothing else in the bag?" BETA replies in the affirmative. "I like you," continues ALPHA, "and therefore I shall be pleased If you will help me to select three of these books." ALPHA proffers the six books on a tray and BETA selects three. "Now I want you to select two out of these three." BETA does so. "And now one of the two." BETA retires to his seat with the book.

The slate Is now shewn to be blank on both sides, and one side is marked with chalk by a spectator. The slate, blank side to the audience, Is now placed with the piece of chalk In the satchel which In turn is put on the chair In an upright position.

"You, sir," says ALPHA, addressing BETA, "have been obliging enough to select one of six: books. Now I want a page in the book cho sen. It Is useless to ask one of the many of you to name a number, because the MANY will afterwards say that the 0KB was a paid assistant and gave me a pre-arranged nuniber. I therefore am going to ask several of you to write a unit figure on this pad of paper. Will you start, please?"

When about nine people have put down a number (it should b6 stipulated that the numbers should be placed under one another) ALPHA casts up and makes the total, and the pad is handed to another spectator who, probably without asking, will check the cast.

"Ninety-one is the total," says ALPHA, addressing the audience. The gentleman with the pad reminds him that it is not ninety-one but ninety-four. ALPHA asks if he is quite sure. He indubitably is. "Page 94 it shall be, then," says ALPHA, "Will you please turn to that page?" - this to BETA - "and read out the first line, as I am going to make the chalk write those words on the slate."

A few seconds elapse. ALPHA goes to the satchel, removes slate and words are seen upon It, BUT NOT THE WORDS CONSTITUTING LINE 1 OP PAGE 9411 "You think that is my fault," says ALPHA. "Honi soit qui mal y pense. Let us try again."

ALPHA asks BETA to rub out the letters with the piece of cambric, shews side of the slate blank again and replaces It in the satchel. More seconds elapse and then the slate is removed, the satchel turned upside down, allowing the chalk to drop out and at the same time shewing that the satchel is empty. This time the correct line is found written on the slate.

Remarks: Owing to the formalities it i3 only possible to gain the maximum success by presenting this at a small gathering where the audience are all well known to each other. The point of ALPHA wrongly casting the figures is that the first message is the wording of the first line on Page 91, and if ALPHA looks a bit crestfallen when the correction of cast is pointed out It will be found that BETA always looks at Page 91 and tells the others afterwards. Then the climax to the unsophisticated really seems like magic.

Requisites: A slate with flap, satchel, six books, piece of chalk, piece of cambric, scrib-bllng-pad, pencil and tray.

Preparation: The first line of Page 91 in-the book to be forced is written on one side of the slate. The first line of Page 94 is written on side of flap. The two Messages are now placed face to face so that the slate can be exhibited in blank condition. The cambric is rolled Into a ball and put in a corner of the bag. The slate and other articles are dumped into satchel and this completes the preparation.

Presentation: All of the articles removed from satchel with exception of cambric, which is removed later by assistant. Care Is taken not to dislodge the flap of slate. After forcing the book in the usual equivocal manner, ALPHA marks the virgin side of the slate, shewing the other side blank, and places it in the satchel In such a manner that directly the slate is inside it is given a slight tilt, causing the flap to fall against the side of the satchel. ALPHA takes the scribbling-pad from one member of the audience to another, mentally keeping track of the total.

When it has reached the number of not less

Page than eighty-five and not more than ninety, ALPHA says, "Thank you. I now will cast them up and arrive at a total". In the course of putting down the total he deliberately adds a figure necessary to make the column total ninety-four, but he actually puts down ninety-one. BETA corrects the total and then Page 94 is examined. ALPHA removes the slate from the satchel leaving the flap behind; at the same time ALPHA touches the satchel with the other hand sufficiently enough to tilt the flap to the other side.

The message having proved to be the wrong one, BETA is asked to clean It off. This is a piece of subtle misdirection, leaving the slate in the hands of an assistant, wnen it is unprepared. ALPHA puts the slate in the satchel so that the blank side of the flap comes against the clean side of the slate. In removing the slate the flap is removed with it, it being an easy matter to slip it into the slate frame as the fingers withdraw the slate. Apparently, the message Is now written on the slate. The self-contained nature of the experiment will be appreciated by the practical conjuror - it's all in the satchel - ready to pick up and present.

U-CHUNG-SOO ïiowérs apwnty £jdmunb voungér dmund Younger, who <8> hides under the name of Li-Chung-Soo, favours showy effects In his Oriental Magic Act. He gives here a few ideas on flower productions that are very useful to those who lean towards that type of magic. Flower productions in England have, of late, come into vogue. Levante uses a spiked flower number,Murray has a production of scores of flowers for his act's opening, Chefalo also makes much of and gets much out of his flower productions. And now — Edmund Younger. — Cedric

"I'm not going zo explain anything new, but rather turn sojne old magic into new. Always having believed that audiences like a display of oolour I always give a Chinese performance which lends Itself to eyefilling displays. All of you have seen the dealer's catalogue wherein was described "Flowers From Paper Cone Production". With it you receive fifty or a hundred spring flowers, roll a sheet of cartridge paper into a cone, shew empty, load in by a method to suit yourself, and produce the flowers, ending the trick. Most magicians do not use spring flowers because of the time necessary for folding, and also because stage hands have the

SELECT!» WE

TWO Of HEART'S

edmund younger,

"REDLANDS," KENTON, NEWCASTLE-ON-TYNE, ENGLAND.

largest feet In the world and like to trample on them. Thus one of the most beautiful magical effects lies dormant. We have card kings, cigarette conjurors, handkerchief, coin and ball specialists --- why not a flower production master?

You take a sheet of cartridge paper from the table (behind is a bundle of say 50 flowers) in the right hand. The left hand takes the edge of paper and brings it upward. At the same time the right hand gives paper a half turn thus forming it into a cone or sugar bag. By pressing the sides of cone a spring clip Is released. The flowers get out of the bastile and are poured into a large wire basket on the table or 3tand. The clip used is standard at dealers.

The cone then is shewn empty, held in left hand, and at the same time the right hand obtains a further load from right side of the performer. The cone is passed to the right hand which takes hold of it at the mouth, fingers inside, letting load slide into cone to be produced into basket as before. Then the cone is unrolled and placed on the table. Both hands are shown empty before taking it up again when another load is produced.

This third load is prepared as follows: The flowers have a paper band around them. Through the band is a piece of florist's wire made in the form of a figure 8, i.e. two loops. Inside the black art well on your table is a small headless nail which engages in the second loop, that nearest the flowers. The upper loop protrudes above table surface. In lifting the paper the finger of hand is inserted in this loop which brings the load up behind paper after which the cone is formed and flowers released as before.

Again the cone is put on table and the hands shown empty. In the meantime he has obtained from the body a load held in a special clip which is back palmed and accounts for the hands empty appearance. The cone is picked up with the left hand, right hand shewn empty In mid-air, a reverse palm is made and there is produced a shower of paper flowers after the style of the Miser's Dream. As these flowers fall they are caught in the cone and then again tipped out into the wire basket. This ingenious feke I was lucky enough to obtain from Conradl Horster, in Berlin, Germany. It consists of a piece of spring steel with a clip held between the fingers. It is in two parts, the bottom piece being made of brass, and which sets in a hole at one end and slips into a fold at the other. By pressing simply, the flowers are instantaneously released. Conradi makes these for the purpose of backpalmlng, but it is not impossible for one to attach a back hand device to his own present clip which also works by squeezing.

A 3mall wicker basket is shewn empty and held in the left hand. The right hand now holds the cone. A lever is released and a flap in the basket flips over immediately filling the basket with flowers, apparently from the cone which is at that time tipped over it. This wicker basket full of blooms Is poured into the large wire basket with left hand, and at the same time the right hand brings cone up behind the wire basket which Is backed with black cloth. Hanging there is a duplicate cone filled with real roses.

The performer steps to audience after this move and distributes the flowers by tossing them out, the extent of the distribution being determind by the size of the cone used. It is at this point, when spectators are about to rer a Use the flowers are not exactly what they seem to be, that this distribution of genuine roses makes for a good Impression and applause.

By using a large wire basket as the receptacle for the flowers, they are thus collected neatly to the appearance of a huge production 8«d with very little damage. My basket is about 32 inches high, 9 inches square at the bottom, and 15 inches square at the top. This makes a square conical type of basket, the back side of which has been covered with black cloth behind which hangs the loading cone with real flowers.

One can continue with a whole production act of flowers by using other pieces of apparatus. Martinka invented a tray with a double flap to produce both red and white spring flowers. The old rose in the buttonhole is a good opening for such an act. Two Japanese trays shewn together with a false bottom in one and a folding feather plant or two makes a nice appearance. You might use the walking stick to tree. The production of a large feather bouquet in a plant pot from a stand, an astonishing effect. This is worked by a foot release. I obtained mine from Carl Willmann, also of Germany. Your cone, simply put over the empty pot, is removed to shew s full sized plant. A final number would be to use the giant double botanias which the Davenports have catalogued.

I sincerely hope these suggestions will help some aspiring magician build a really fine and popular flower act.

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