T H E M A G I C W A N D S ER E R IE IE S
By T OM
SE LL ER S
LONDON: GEORGE JOHNSON, 24 Buckingham Street, Strand, W
CONJURING BOOKLETS BY TOM SELLERS An inventive magician of high repute, Mr. Tom S e l l e r s is an acknow a cknowledged ledged master of lucid instruction. instruction. Showmanship, patter and and persiflage persiflage he leaves to the exponent. H e descri describe bes, s, in brief understandable terms, magical effects that are suitable for all occasi occasions. ons. T h e booklets booklets have wo n great repute and are in constant demand by practical magicians. T r i c k s t h a t W o r k .
C a r d t r i c k s t h a t w o r k .
S e l l e r ’s
M o r e Se c r e t s .
Se c r e t s .
Q u ic k T r ic k s .
M a g ic a l
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C a r d T r i c k s . Im m e d ia t e
P l e a s a n t r ie s .
N ecromancy .
M a g ic .
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W I L L A L M A M.I.M.C. fLONDON)
7|d. : cents ents..
T he M agic W an d Off Office ice, 24 Buck ingham Street Street,, Strand7Lo ndon , W .C.2
M A G IC
HITS
BY
TOM
SELLERS
LONDON: G e o rg e
J o h n so n ,
T h e M a g ic W a n d O ffice,
24 Buckingham Street, Strand, W .C .2 1937
CONTENTS. PAGE An
O p e n i n g E f f e c t ...............................................................
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P r e d e t e r m in e d T h o u g h t
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A D if f e r e n t
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S t r e t c h i n g a R o p e ...............................................................
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S t r e t c h i n g a R o p e (S e co n d M e t h o d )
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D i e -B o x
O r g a n P ip e F l o w e r G r o w t h
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R i n g a n d L o o p
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D i e a n d R o p e
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U n iq u e Cu t
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P r a c t i c a l L i v i n g a n d D e a d T e s t .................................
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R o p e
T h im b l e t h r o u g h H a t
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Sim p l e C ig a r e t t e C a t c h in g R o p e s a n d R i n g D u p l e x F i s h -B o w l
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P r o d u c t io n
A Su m P r e d i c t io n
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A P r o d u c t io n B o x I d e a
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T h e T . S . P r o d u c t i o n B o x ................................................
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G l
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A Br
o k en
a s s
A M a
Geo.
Pe
M a
n e t r a t io n
g a z in e
B,
t c h
F low
T
e s t
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Made and printed in Great Britain by e r & S o n s L t d ., 15-16 Verulam Street, London, E.C.l
' N O I a i T r C o E t c L i V L O f o C
AN OPENING EFFECT. Effect. T h e p e r f o r m e r u n r o l ls a l a r g e s c ro ll w h i c h is c o v e re d w i th a ju m b l e o f le t te r s . H e th e n s h o w s t h e b ac k o f th e scro ll w h ic h is se en to be b la n k . T h e le tte re d side of the scroll is again turned to the audience, and the letters are seen to have arranged themselves to read, “Good Evening Everybody.”
R e q u i r e m e n t s . A l a r g e b a n n e r o r s c ro ll , w i th a s ti c k a t y r G a e i t h e r e n d. T h i s b a n n e r is m a d e o n t h e c a r d b a n n e r r N I b i R p rin cip le. O n th e o u ts id e is p a in te d a ju m b le o f le tte rs , L U a n d w i t h i n t h e f l a p a s e n t e n c e t o r e a d “ G o o d E v e n i n g J e t Everybody.” a N t O S C Method. Unroll the scroll and show the side with the e ju m b le o f le tte rs . N o w t u r n th e b a n n e r ro u n d to sh o w h A T t h e b a c k , a n d w h i le d o i n g s o r e le a s e t h e f la p . T h e n t u r n M L t h e l e t t e r e d s id e t o th e s p e c t a t o r s a n d s h o w t h e g r e e t in g . A PREDETERMINED
THOUGHT.
T h e p e r f o r m e r w r it e s t h e n a m e o f a c o lo u r o n a b la n k c a rd . W i th o u t sh o w in g an y o n e w h a t h e h a s w r it te n h e p laces th e c a rd , b ack o u tw a rd s , in a sm all g lass. H e n o w introduces a packet of cards on each of which is printed a s p o t o f a d if f e r e n t c o lo u r . T h e s e c a r d s a r e s h u ff le d b y a s p e c t a t o r , a f t e r w h i c h o n e c a r d is fr e e l y s e le c te d . T h e chosen spot-card is then placed in the glass with the card w h i c h b e a r s t h e w r i ti n g . T h i s l a t t e r c a r d is i m m e d i a te l y removed from the glass and handed to a spectator who r e a d s a lo u d w h a t is w r i tt e n o n t h e c a r d . I f h e sa y s “ R e d , ” or any other colour, the chosen card is taken from the glass and is shown to bear a spot of the predicted colour.
Requirements. About a dozen blank visiting cards, and a dozen on each of which has been painted, or printed, a spot of a different colour. A sm all glass th a t w ill hold t h e c a r d s in a n u p r i g h t p o s it io n . P l a c e a c a r d w i th a red spot face down on the top of the packet of blank cards. 3
M eth od . Pick up the packet of blank cards, turn the two top cards over as one, and write the word “red” on it. Take these two cards off the packet as one, and slip them in the glass, the written side of the card away from the spectators. N ow introduce the packet of coloured spotcards, have a person examine and mix them, th en le t him select one card. H e is not allow ed to look at the card he chooses which is straightway put into the glass back outwards. Recoun t w hat has happened, then remove the card on which the prediction is written, and hand it to a spectator. A sk him to read aloud wh at is written thereon. When he has done so, remove the two cards as one, from the glass. Th en turn and expose, sho w ing that the chosen colour was correctly predicted. A DIFFERENT DIE-BOX. (Diagram on page
7)
The difference between this and other die-boxes is that the die used is perfectly solid, and no shell is needed. R eq u irem en ts. The box has the usual four doors, two back and tw o fron t. It also has a top door, or lid, and under this top door there is a tray 1J in. deep. T he partition dividing the two compartments of the box is hollow, the width o f the space between the walls being also 1J in. A square piece o f tin is hing ed to one o f the doors, and this is painted on one side to represent a die. T h is tin flap works independently of the d o o r : see diagram. The die is a three inch block of wood, painted and spotted in the usual manner, but it is cut into slabs or slices, each lin . thick. In addition to the fake d die a solid one to m atch is also required. A square tube, about 6|in. high is divided by two wires which are fixed to the sides. M eth od . Place the tube over the faked die which rests on the table. Sh ow the solid die, drop it in the tube from the top, and immediately lift the latter bringing the faked die into view . La y the tube on its side, pick up a plate, then take the tube, reverse it, and place it on the plate. N ow display the box. Op en the front and the back doors, and close them again. L ift up the top door, then pick up 4
the die and prove it to be solid. Th e die m ust be gripped firmly with the fingers and thumb and then it can be banged on the table as hard as required to prove its solidity. U nd er cover o f the top lid apparently place the d ie in the bo x through the top. A ctua lly one section is placed tray on the right, and one section in the left. Th e third section goes sidew ays into the hollow partition. N ow close the top lid, and open the front door revealing the flap which represents the die. Fro m this point w ork the usual die-box routine, finally showing the box empty, then lift the tube and sho w the solid die on the plate. ORGAN PIPE FLOWER GROWTH. [Diagram on page 7)
This is an idea for using the familiar “Organ Pipes” to produce a plant with flowers. T w o tubes only are used and inside the smaller one an artificial plant is suspended, as show n in the diagram. Th is plant is m ade by sticking w ires into a circular piece o f wood an inch thick. Th e flowers and the leaves are attached to the wires which are painted green. A t each side o f the disc a thread is fastened the free ends of w hich each terminate with a little metal hook. Th us the plant can be suspended inside the smaller tube. Th e two tubes, togeth er w ith a glass dish, are seen on the table at the commencement of the effect. M eth od . Pick up the larger tube and show it to be emp ty. N ow slide the smaller tube inside the other tube and lift the outer one upwards taking the plant with it by m eans o f the hooks. Sh ow the second tube em pty, replace it on the table, and stand the glass dish on top of the tube. P lace the loaded tube inside the dish, at the sam e time releasing the hooks, thus allowing the plant to settle in the dish. R em ove the tube and disclose the p la n t; see diagram. STRETCHING
A
ROPE.
(Diagram on page 7)
Th e performer ties a length o f tape, which is introduced as rope, into a loop and then, pulling it with his hands, 5
he starts to stretch the loop. It grow s long er and long er until finally it is seen to be twice its original length. R e q u i r e m e n t s . A l e ng th o f ta pe k n o w n a s “ P y j a m a ” tape. Th is tape is about one inch wide and, w ha t is m ore important, it is tubular. A shorter piece, about two inches long, is also required. M eth od . Take the longer piece of tape and insert one end into the other. T he inserted end, as w ill be seen in the diagram, goes about three-quarters of the way round, and the result is a ring o f rope. N o w tak e the short piece and tie it, as shown in the diagram, around the large loop at the join. Th e tape, or rope, is now se t for work ing. Pick up the tape and apparently tie the ends. Sh ow th e loop, keeping the fake ends in view, hold the knot with the left hand, and pull at X w ith the right. K eep pulling as if stretching the rope, making the loop larger and larger. W hen the end is nearly out bring the right hand up to the knot and clip end “A ” in the crotch of th e thumb. A slight pull brings this short piece away in the hand. Separate the ends of the large loop, and throw the tape to the spectators.
STRETCHING
A
ROPE.
(Second Method) The rope in this effect is the same as that used in the first method, only no extra piece is required. T ak e a length of the hollow tape, and cut a slit in it about two inches from on e end. N ow double the tape up into a loop and push the loop through the slit. T h e m ore loop that is pushed in the bigg er the stretch at the finish. Hold the loop in the slit, the ends “A .A .” start to pull the loop out a little at a time, bigger and bigger.
left hand, the fingers covering the show ing above the fingers. N ow at X with the right hand. Pu ll and the loop will appear to grow
6
7
in here. - M Duplicate Die heTC Vo, vA Uo.
Hook'*'
Vo
8
RING
AND
LOOP.
(Diagram on page 7)
Effect. A loop of rope is seen to be tied to the cross b a r o f a sta n d w h ich re sts on th e p e r f o r m e r ’s tab le. A s o li d r i n g is n o w p a s s e d f o r e x a m i n a ti o n . W h i l e t h i s is bein g d o n e th e p e r f o r m e r h a n g s a h a n d k e rc h ie f o n th e two uprights of the stand thus hiding the loop but not the t ie d e n d s o f t h e r o p e . T a k i n g th e r i n g h e h o l d s i t b e h i n d t h e h a n d k e r c h ie f . W h e n th e h a n d k e r c h ie f is r em o v e d a few seconds later the ring is seen to be threaded on the r o p e . T h e r o p e is n o w c u t a w a y j u s t b el o w t h e k n o t s, and both the rope and the ring are passed for inspection. R e q u i r e m e n t s . A stand with a cross-bar as shown. H a l f -w a y u p t h e u p r i g h ts a r e t w o h o o ks o n w h ic h t o h a n g the han dk erchief. A pie c e o f r o p e f a k e d a s fo l lo w s . N e a tly jo in th e e n d s w ith w ax , a n d a r o u n d th e m id d le o f t h e r o p e t ie a s h o r t e r le n g t h . S e e t h a t t h i s k n o t r u n s freely up and down the longer rope, then tie the surplus e n d s a r o u n d t h e c r o s s - b a r o f t h e s t a n d . T h e r e s u l t is a loop of rope apparently securely tied to the cross-bar of t h e st an d . A h a n d k e r c h i e f a n d a c u r t a i n r i n g c o m p l et e the apparatus. M e t h o d . S h o w t h e lo o p t ie d t o t h e s t a n d . P a s s th e r i n g f o r i n sp e c tio n , a n d m e a n w h i le h a n g th e h a n d k e r c h i e f on the hooks to conceal the end of the loop only. R eceive b ac k th e rin g , a n d p la ce it b e h in d th e h a n d k e rc h ie f. Separate the waxed ends of the rope, thread the ring, roll the ends of the rope neatly together again, and pull at X t il l t h e j o i n e d e n d s r e a c h t h e f a k e k n o t . R e m o v e t h e h a n d k e r c h i e f a n d s ho w t h e r in g o n t h e r op e . C u t t h e rope clean away below the knot with a pair of scissors, leaving the knot on the cross-bar, and pass the ring and the rope for examination. DIE
AND
ROPE.
(Diagram on page 8)
T h e p e r f o r m e r p a ss e s f o r i n sp e c ti on a le n g t h o f r o p e and a wooden die through the centre of which runs a h o le . A s p e c t a t o r i s a s k e d to t h r e a d th e d i e o n t o th e 9
rope, and return it to the performer who proceeds to thread the ends o f th e rop e, through the holes in tw o upr ights which are fixed to a w ood en base. Th e ends o f the rope are now secured to two staples at each end of th e base. T o the spectators it appears im possible to remove the die withou t cutting the rope. Th e perform er now stretches a foulard from pillar to pillar hiding the die. In a few seconds he removes the die under cover of the foulard which is then removed and the rope shown intact. A t the conclusion the rope and the die m ay again be passed for inspection. R eq uirem en ts. A w o o d en b as e w i t h t w o u p rig h ts through each of which, near the top, a hole is drilled for the rope. In addition to this on e o f the pillars has two •cavities cut in it, one beneath th e other. T h es e openings are o f such a size as to accomm odate a die. W hen it is placed in either cavity the side of the die should be flush with the side of the pillar, with the one spot side, which ma sks the hole in the die, to the ou tside. A small hook is fixed to the top, and at the front of each upright for the foulard, and a staple at each end of the base to which to tie the ends of the rope. T w o w ood en dies, exa ctly alike are required, and these have a hole drilled through their centres. T h e open ings in the pillars are concealed with a suitable black-art design. P re p ar atio n . Place one o f the dies in the lower opening in the pillar.
Method.
Pass the other die and the rope for ex am ination, and ha ve the die thread ed on the rope. Thread the ends of the rope through the holes in the uprights, and tie the rope-ends to the staples in the base-board. Tak e the foulard and hang it on the hooks. U nd er cover o f the drape slide the die along the rope into the opening in the pillar. W hen the die is right hom e, remove the dup licate from the lower opening, unhook the foulard, and show the die to be free. Pa ss the die and the rope for exam ination if desired. 10
UNIQUE
CUT
ROPE.
{Diagram on fage 8)
E ffect. Th e perform er show s a length o f rope tied between the arms o f a “U ” shaped stand. Th e rope is cut through the middle and tied. Th e knot is no w covered w ith a handkerchief, a magic pass, the handkerchief is removed and the rope is seen to be restored. T he perform er cuts the rope away from the stand, and throws the restored rope out for inspection. R e q u i r e m e n t s . A s ta nd a s s h o w n i n t he d ia gr am . It is made of a piece of metal tube which is attached to a suitable base. A slot is cut at the end o f each arm o f the tube, and just under the slots a small dummy piece of rope is tied, the knots being to the front of the tube, that is, facing the spectators. N ow obtain a length o f so ft rope and thread it through the tube. Le ave enough slack so that, after the rope has been cut, a knot can be tied. N ow sew the ends o f the rope neatly together and pull until the join is inside the tube. M eth od . Sh ow the rope on the stand; it appears to be a short length of rope tied to the two arms of the stand. Cut the rope through the m iddle at X and tie the cut ends so that the knotted rope will be stretched tightly across the stand. H old the knot w ith the right hand, and cover both w ith a handkerchief. A s the right hand emerges from under the handkerchief, the knot and the rope is pulled to the right, and the pull is continued with the left hand until the knot passes right through the slot into the tube. Remove the handkerchief and show the rope is restored. F ina lly cut the rope aw ay close to each arm, and pass the restored piece for examination.
PRACTICAL LIVING AND DEAD TEST. (Diagram on page 8)
E ffect. T he perform er has five blank cards and five envelopes selected from a packet o f each. H e asks a spectator to write the name of a dead person on any one 11
of the cards and place it face downwards on the table. On each of the remaining faur cards the spectator is re quested to w rite the name of a living person. A ll the cards are now placed in the envelopes and sealed. Th e spectator is then invited to mix up the envelopes, place them on the table in a row, and cover them with a handkerchief, the perform er turning his back w hile this takes place. W hen the m ixing is finished, and the envelopes covered, he turns round, reaches under the handkerchief, and removes the envelope containing the name o f the dead person. In this method the envelopes and the cards can be freely chosen, and neither are marked in any way. R eq u irem en ts. A p a ck e t o f sm a ll e n ve lo p es , an d one of blank cards. Th e latter should be the same width as the envelopes, but a quarter of an inch shorter. M eth od . H av e five cards and five envelopes chosen. Have a “dead" name written on one card which is placed face downw ards on the table. Fo ur “living ” names are written on the remaining cards and these are placed alongside the card w ith the “dead” name. N ow p ick up the “dead” name, slip it in an envelope, but push it right home. P ut the living names in the remaining en velopes, but only push them in to the top edge of the envelop es. Sea l all the envelop es, let a spectator shuffle them, lay them on the table, and cover the five with a handk erchief. R each under the hand kerchief, and feel for the envelope containing the card which was pushed right hom e. T his envelope, as explained , contains the card bearing the “dead” name.
THIMBLE
THROUGH
HAT.
[Diagram on page 8)
E ffec t. A sleight wh erein a thim ble is apparently passed through the crown of a borrowed hat. R eq u irem en ts. within the other.
T w o th im b l es , o n e o f w h i ch n e st s 12
Place the larger of the two thimbles on the middle finger of the right hand, and back-palm the smaller thimble by clipping it between the first and third fingers; see diagram. H old the hand palm towa rds the audience, pick up the hat in the left hand, and with the thumb of the right hand, push the visible thimble off the middle finger, and let it drop visibly into the hat. P lac e the right hand under the hat, and insert the middle finger into the back-palmed thimble. D isplay the thimb le and show the hand to be otherw ise em pty back and front. A ga in place the right hand under the hat, and apparently throw the thimble, really back-palming it again, through the bottom o f the hat. R each inside the hat, re-insert the finger into M e th o d .
the back-palmed thimble and push it inside the thimble wh ich w as d ropped into the hat. R em ove the two thimbles as one, and show the hand back and front, then return the hat to the lender.
SIMPLE
CIGARETTE
CATCHING.
(Diagram on -page
8)
Secretly load several cigarettes into a bowler hat which is then held in the left hand. Ob tain a cigarette with the right hand, gripping one end between the first and second fingers. Curl these fingers inw ards, and exten d the thum b along the cigarettes; see diagram. Stand with the left side to the spectators. T o m ake the cigarette appear, quickly draw back the thumb until it touches the finger tips, thus bringing the cigarette into view . A pp arently throw the cigarette into the hat, but, as soon as the hand is hidden, slide the thumb along the cigarette again. The catching can now be repeated, and at the finish actually throw the cigarette into the hat, and tip the con tents on to a tray. 13
ROPES
AND
RING.
(Diagram on page 14)
Thread two lengths of rope through a ring as shown i n t h e d i a g r a m . N o w p u l l o n th e e n d s o f t h e r o p e s ti ll t h e y a r e in th e p o s i ti o n s h o w n a t “ B . ” C r o s s th e ro p e s “ A ” “ D ” t o t h e le f t, a n d “ B ” “ C ” to t h e r i g h t . P a s s t h e e n d s “ A ” “ D ” th r o u g h t h e l e f t a rm - h o l e o f t h e v es t, a n d “ B ” “ C ” th r o u g h t h e r i g h t a r m - h o l e. A t t h is p o i n t s h o w the ring on the ropes, and as the ring is raised in order to place between the teeth, secretly slip the ropes off the r in g . T h e r o p e s a n d th e r i n g a r e st ill h e l d t o g e t h e r , h o w ever, an d then placed between the teeth. C ross the rope s “ D ” “ B ” in f r o n t o f t h e ve s t, ta k e t h e e n d s o f tw o r o p e s i n e a c h h a n d , a n d e x t e n d th e a r m s . T h e r o p e s w i ll t h e n come clear of the vest, and the ring will be left between t h e t e e th . T h i s m e t h o d , w h i ch is t h o r o u g h l y p r a c t ic a l , a ll o w s t h e e ff ec t to b e p e r f o r m e d a t a n y t im e . I t is v e r y s i m p l e t o w o r k , a n d t h e r e a r e no s u s p i c i o u s m o v e s w i t h the ropes.
DUPLEX
FISHBOWL
PRODUCTION.
[Diagram on page 14)
T h e p e r f o r m e r s h o w s a f o u l a r d o n b o t h sid e s. S u d d e n l y he appears to have caught something underneath the f o u l a r d . H e g o es t o h is t a b le a n d o n t h e to p o f i t h e p la ce s h is “ c a tc h .” W h e n th e co v e r is rem o v e d a b ow l o f g o ld - fi sh i s s e e n u p o n t h e ta b le . A g a i n t h e p e r f o r m e r reaches under the foulard, and produces a second bowl of fish. T his is placed on top of the first one. T h is m akes an excellent opening effect.
R e q u i r e m e n t s . A box table the top of which consists o f tw o s p r in g - h i n g e d fla ps . T w o s lo t s a r e c u t in t h e flaps, see diag ram , and these pe rm it a ca t-gu t loop, w hich is attached to one bowl concealed in the box-top, to pro t r u d e . A t t h e b a c k o f t h e t a b le is a s h e l f - s e r v a n t e , a n d on this rests the second bowl. A piece o f black cloth to cover the table-top is also required. 15
T o s e t . P lace the looped bow l in the box -top. Close the flaps and draw the cat-gut loop through the slots. The other bowl is placed on the shelf-servante, and the p iece o f clo th is sp re a d on th e ta b le-to p . Method. Display the foulard and pretend to catch s o m e t h in g u n d e r it . G o t o t h e t a b le a n d u n d e r c o v e r o f the foulard, take hold of the cat-gut loop through the square of cloth, and pull upwards till the bowl is clear of the flaps. A s the flaps fall into place allow the bow l to rest on the table, and draw the foulard towards the rear. W hile the sp ectators’ eyes are on the exposed bowl, secretly take the second one from the shelf keeping it con c e a le d u n d e r t h e f o u l a r d . A f t e r a s u it a b le p a u s e re a c h under the foulard and produce the second bowl, and rest it on top of the first one. T he sq ua re piece of cloth is re tained under the foulard. A
SUM
PREDICTION.
(Diagram on page 14)
Effect. T h e p e r f o r m e r s h o w s b o th s i d es o f a s la te . H e w r i te s s o m e t h in g o n t h e s l a te a n d r e s t s i t on h i s t ab l e w i th o u t sh o w i n g a n y o n e w h a t h e h a s w r it te n . H e now tak es a second slate, an d wTrites o n it (in ad dition sum form), four rows of figures which are called out by t h e s p e c ta t o r s. T h e s u m is a d d e d u p a n d th e t o t a l i s w r i tt e n u n d e r n e a t h . T h e fi rs t s la t e is n o w p i c k e d u p , turned round, and written on it is the correct answer to t h e su m . T h e b e a u t y o f th i s tr i c k i s t h a t t h e r e is n o f o r c i n g o f a n y o n e o f t h e f ig u re s , th e w h o l e tr i c k b e in g i n the slates themselves. Requirements. A s l a t e ( N o . 1), a s s h o w n i n t h e diag ram . T his is divided into five equal sections by w hite lines on both sides, but the bottom section is cut away. A flap w hich is black an d h as lines on one side only is mad e for this slate, and the flap is placed on the slate with the lines ou tw ard. T he second slate (N o. 2), is the sam e size as the first, and apart from being lined, the only pre p a r a tio n a b o u t it is th e a d d itio n o f a fla p w h ich is also divided by white lines. Method. Show slate No. 1 and pretend to write some t h in g o n t h e F L A P s id e . T h e s la te , f la p u n d e r m o s t , is t h e n
16
p la c e d on th e tab le . P ic k u p sla te N o . 2 a n d h a v e f o u r r o w s o f f ig u re s c a ll e d o u t . T h e s e a r e w r i t te n o n t h e flap in the spaces betw een the w hite lines. T he sum is now added up, and the answer written in the fifth or b o tto m sp ace u n d e r th e sum . T h e to ta l is ch e ck e d to m a k e s u r e i t is c o r r e c t . H o l d th i s s la t e f a c e - d o w n a n d p lac e it on sla te N o . 1. S lid e N o . 1 slate f ro m u n d e r N o . 2, b u t in so d o in g let th e flap fa ll fro m sla te N o . 2 o n to sla te N o . 1. T h e r e s u lt is th a t w h e n th e la tte r is tu r n e d ro u n d , the so-called predicted answer which is seen is rea lly the total of the original sum showing through the cut-out p o r tio n o f th e fak e d slate. T h e re a so n f o r h a v in g th e white lines on the slates is, of course, to hide the missing pie ce.
A PRODUCTION BOX IDEA. (Diagram on page 14)
E f f e c t . T h e p e r f o r m e r s h o w s a s m a ll b o x w h i c h o p e n s a t t h e t o p a n d f r o n t . T h e r e is n o d o u b t a b o u t t h e b o x b ein g e m p ty , b u t as a f u r th e r p r o o f th e p e r f o r m e r d ro p s a cube inside and this en tirely fills the box. T h e cube is the n rem ove d and the box is still seen to be em pty. T he f r o n t a n d t o p d o o r s a r e n o w c lo se d, a n d a l m o s t i m m e d i a te l y the top door is re-opened and a production commences. Requirements. A square box that opens at the top a n d t h e f r o n t , se e d i a g r a m . A h o l lo w cu b e ( N o . 1 ) w h i ch h a s o n e s i d e r e m o v e d ; t h is f its i n si d e t h e b o x. A s e c o n d cube (N o. 2) w hich fits inside the first one. N o. 2 cube is o p e n a t t h e t o p a n d t h e f r o n t , a n d a m i r r o r is fi tt ed at an angle of 45 degrees to reflect the bottom of the cube. L o a d t h e s p a c e b e h i n d t h e m i r r o r w i th s il ks , et c., a n d n e s t N o. 2 c u b e in sid e N o . 1. M e t h o d . S h o w t h e b ox a ll r o u n d a n d o p e n t h e t o p a n d fr o n t lids. Slip the n-ested cubes (a s on e cube) insid e the b ox. A p p a re n tly rem o v e th e cu be, b u t re a lly ta k e o n ly th e o u t e r s h ell f r o m t h e b ox . T h a n k s to th e m i r r o r t h e b o x still app ears to be em pty. Close the box, then open the t o p li d an d m a k e t h e p r o d u c t io n . N e e d l es s t o s a y t h e inside of the cubes, and the inside of the box should be p a in te d th e sam e colo ur. 17
A
BROKEN
MATCH.
E ffect. T he performer places a match on his out stretched left palm. H e -strikes the match w ith edge of his right hand, and the match is seen to be broken in two. R equ irem ents.
A m atch.
M eth od . Open the left hand out fiat. Place a match on this hand at the base o f the fleshy part o f the thumb ; see diagram. R aise the right hand and with the side o f it strike the match in the centre. Just before the blow falls, contract the palm. T he open space created beneath the match makes the breaking easy, and the palm is immediately flattened again.
THE
T.S.
PRODUCTION
BOX.
{Diagram on page 19)
Designed for the production of four large silks, this little box can be shown empty between the production o f each silk. Th ere are no flaps, false bottom s, or m irrors to worry the operator, and the box can be freely displayed and even spun on the end of the wand. C on struc tion. The box is four and a half inches square, and the top edge is flanged as shown in the diagram. T his leaves a space o f h alf an inch between the four sides o f the box. F ou r slots, J inch w ide and 1 inch long, are cut in the top edg e of the box. Th e slots m ust be in the centre o f each side. T h e lid fo r the box is a flat piece of metal with five lugs. Fo ur o f the lugs, which are H inches long, fit o u ts id e the four sides o f the box. The fifth, or main lug, is directly behind, and parallel with, one o f the other lugs. W he n the lid is placed on the box this fifth lug enters a corresponding slot. W or k in g. Fold four silks neatly, and place one in each of the double sides of the box directly under the slots. Sh ow the box em pty, pick up the lid, concealing the double lug with the fingers. D isp lay both sides of the lid, then place it on the box, and as the extra lug enters a slot one of the silks is forced from its place of concealment. 18
Rem ove the lid and prod uce the first silk. Re pea t the p e r f o r m a n c e , a n d each tim e th e lid is replaced , en g ag e the ejector lug in a slot under which there is a silk, until the r e m a i n i n g t h r e e si l ks h a v e b e en p r o d u c e d . T h e t o p e d ge of th e box should be decorated with a design to conceal the slots.
V ie .o j.
GLASS
PENETRATION.
(.Diagram above)
A sheet of glass is shown and slipped into two grooved u p r i g h t s a t t a c h e d to a ba se . T w o e m p t y so c k e t s a r e n o w hung over the glass which is then turned sideways to the specta tors, an d two lit’tle emp ty tube s ar e fixed, one in each socket. A small silk inserted into one tub e pe ne trat es the g la ss a n d is w i t h d r a w n f r o m t h e o t h e r t ub e.
Secret. Reference to the diagrams will make every thin g clear. T he y show the glass an d the base, an d it will be seen t h a t th e so ckets a r e a t ta c h e d to a “ U ” s h a p e d s tr ip
l®
of metal. T his is slipped ove r the sheet of glass at “ X ,” a n d t h e f r a m e is t u r n e d e d g e w a y s t o t h e a u di e n ce . T h e two tubes are really “ghost” tubes, one of which is loaded with a silk. T he tubes are placed in the sockets af te r they have been shown em pty in the usual way. A silk is now p u sh e d into the em p ty tu b e an d its du p licate w i t h d r a w n f r o m t h e l o a d e d o ne . T h e t ub e s a r e t h e n r e m o v e d f r o m t h e s o c k et s a n d o n c e m o r e s h o w n e m p t y .
A
MAGAZINE
TEST.
A magazine, after being opened at any page by a spectator, is returned to the performer, who places his hands behind his back to receive it. T he spectato r is now a s k e d t o ag a i n t a k e th e m a g a z i n e a n d cl os e it. T h e p e r former immediately names the selected page. Requirements. A magazine which has the pages n u m b e r e d a t t h e t o p c o r n e r s. A s t r i p o f c a r d b o a r d t o ac t as a book-mark.
Method. Hand out the magazine and the book-mark. Request someone to open the magazine at any page and note the number of it, and return the magazine stil l open. Place the hands behind the back to receive it, and hold the s el ec te d p a g e w i t h t h e l e f t h a n d . W i t h t h e r i g h t h a n d count two pages further on, and tear of? the numbered corner of the new page. Ke ep this piece in the righ t hand, and tell the spectator to concentrate on the number of the chosen page. Secretly glimpse the nu m be r on the corner in the right hand, and turn away from the spec tators. L et a spectator take the magazine, place the book m a r k a t t h e se l ec t ed p a g e a n d cl os e t h e b oo k. T o n a m e the chosen page count back two pages from the number o n t h e t o r n co r n e r . F o r e x a m p l e : i f th e n u m b e r o n t h e torn corner is twenty, the selected page will be eighteen. Have the magazine opened at the book-marked page for verification. T he idea of using a boo k-m ark is to preven t the spectator running through the pages and discovering the torn corner. Copyright by George Johnson, 1937
20
A v c t
a -cP ? '
s’
Books on Conjuring & Entertaining L E T ’S PR E T E N D , by W ilfrid Jonson. A first booklet by this expert and pop ular m agician . Pra ctical card and silk effects, paper-tearing, etc. R eally first class work for pay ing audiences. 2 /6 . Postage li d . 75 cents. PO N SIN ON CO NJ UR ING . T r a n s la t ed a n d a n n ot at ed b y S. H . Sharpe. T h is is a translation of J. N . P onsin ’s famo us book N o u v elle M a g ie B la nche D evo il ee. 8vo, cloth, 10s. 6d. Postage 4-d. (December.) S L O W S L E I G H T S , by E . B r i an M a c C a r t h y. N o v e l m o v e s w i th billiard balls, thimbles, cards, coins, etc. 2 /6 . Postage li d . 75 cents. M O D E R N S L E I G H T S , b y E . B r ia n M a c C a r th y . A c o m p a nio n booklet to “ Slow S leights.” Cop iously illustrated. 2 /6 . Postage li d . 75 cents. P U T IT OVER, by JV F. Orrin. D ealing w ith concert stage effects and their delightfully humorous presentation, the success of this book is phenomenal. A handsome volum e of ver y new m agic, copiously illustrated. Cloth, 211 pages, 10 /6. Postage 4d. $3.00. W A L K E R ’ S C A R D M Y S T E R I E S , b y R o y W a lk e r . A b oo k o f really modern card effects. Cop iously illustrated. Recom men ded w ith ever y confidence. Cr. 8vo, 3 /6 . Po stage 3d. $1.00. N E O M A G I C , b y S . H . S ha rp e. T h e M a g i c o f t o -d a y a n d to-morrow. A n inexhaustible fount of information in a we ll written and bea utifully produced volum e. D em y 8vo, S / 6 . Po stage 4d. $2.00. H A P PY M A G IC , by Chas. W aller. Cloth bound (complete). A splendid collection of humorous effects. Thoroughly practical. 7 /6 . Postage 3d. $1.75. Part I (wrappers), 2 /6 . Pa rt II, 2 /6 . H O F Z I N S E R ’S C A R D C O N J U R I N G , b y O tto k ar F is ch e r. T h e ackn ow ledged best wo rk on the subject. Cloth, 184 pages, 10 / 6 . P ost age 4d. $3.00. “ R I N G U P T H E C U R T A I N , ” b y J . F . O rr in . C o v er s a w i d e field of practical magic and only submits tricks that have been successfully presented. 3 /- . Po stage 3d. $1.00. " M A G I C F R O M B E L O W ,” b y C h ar le s W a ll er . T h e se co nd prin ting of this most successful book now ready. A veritab le gold mine for the practical Magician in search of workable nov elties. Cloth. 176 pages. 6 /6 . Postag e 3d. $1.60. W A LL ER ’S W O N D ER S, by Charles W aller. One of the most up-to-da te and successful books pub lished. B rillian tly new . Cloth, 8 /6 . Postag e 3d. $2.60. A F E W J A R D I N E E L L IS SE C R E T S . “ A n y s in g le item is worth more than the price at which the book is published.” W rappers, 1/ 1. Pe st free. 40 cents. A R T I N T E N M I N U T E S , b y G eo rg e M u n ro . A h um oro us “Lig htn ing Sketch” lecture tha t is easy to present. W rap pers , 1 /1 . Post free. 40 cents. T H E L I G H T N I N G S K E T C H E R , b y G eo rg e M u nro . A n ew edition of this remarkably useful and funn y book. W rapp ers, 1 /1 . Post free. 40 cents.
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GEORGE
JO HNSON
Publisher and M agical Books el ler i ‘ THE
“ M A G IC
WAND”
O F F IC E
2 4 B u c k i n g h a m S t r e e t, S t r a n d , L o n d o n , W . C . 2
