By Tom Sellers: The Magic Wand Series

T H E M A G I C W A N D SERIES

By TOM

SE L L E R S

LONDON: G E O R G E J O H N S O N , 24 B uckingham S tre e t, S tra n d , W

CONJURING BOOKLETS BY TOM SELLERS A n inventive magician of high repute, M r. T om S e l l e r s is an acknowledged master of lucid instruction. Showmanship, patter and persiflage he leaves to the exponent. H e describes, in brief understandable terms, magical effects that are suitable for all occasions. T h e booklets have won great repute and are in constant demand by practical magicians. T

r ic k s t h a t

W

ork.

C ard M

ore

Q

M

a g ic a l

u ic k

21 N

T

ew

r ic k s .

C ard T

r ic k s .

N

ovel

I m m e d ia t e M

a g ic .

Secrets. N

P

l e a s a n t r ie s .

ecrom ancy.

V 7id.

Cr.

* * LJ8*/

In M

t r ic k s t h a t w o r k .

S e l l e r ’s S e c r e t s .

ac(

I. B r i a n

k should

obtair Cr. 81

J

it 2p \ a .

ai

A

CHER.

r

ilS S E U R S .

]

kd.

Co

heory). j

Gt

— Pr

W IL L ALMA M.I.M.C. fLONDON)

7 |d . : cents.

T h e M agic W an d Office, 24 Buckingham Street, Strand7London, W .C.2

M A G IC

H IT S

BY

TOM SE L L E R S

LONDON: G e o rg e

Jo h n so n ,

T h e M agic W a n d Office,

24 B uckingham Street, Strand, W .C .2 1937

C O N T E N T S. PAGE A n O p e n in g E f f e c t ...............................................................

3

P r e d e t e r m in e d T h o u g h t

..................

..................

3

A D i f f e r e n t D i e -B ox

...

...

...

4

.................................

5

S t r e t c h in g a R o p e ...............................................................

5

S t r e t c h in g a R o pe (Second M e th o d )

..................

6

R in g an d L oop

...............................................................

9

D ie and R o p e

...

...

9

U n iq u e C u t R o p e

...............................................................

11

P r a c t ic a l L iv in g a n d D ead T e s t .................................

11

O rgan P ip e F l o w e r G r o w t h

T h im b l e t h r o u g h H a t

..................

.................................

13

...............................................................

15

D u p l e x F i s h -B o w l P r o d u c tio n A S u m P r e d ic t io n

...

15

...............................................................

16

A P ro d u c t io n B ox I dea A B roken M atch

...

................................................ 12

S im 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 in g

...

...

...

................................................ .................................

18

T h e T .S . P ro d u ctio n B o x ................................................

18

G l a s s P e n e t r a t i o n ...............................................................

19

A M a g a z in e T e s t

..................

17

...............................................................20

Made and printed in Great Britain by G e o . B, F l o w e r & S o n s L t d . , 15-16 Verulam Street, London, E .C .l

of V ictoria C O LL EC TIO N ' The State Library ALMA CONJURING

AN OPENING EFFECT. E ffec t. T h e p e r f o rm e r u n ro lls a la rg e scro ll w h ich is co v e red w ith a ju m b le o f le tte rs. H e th e n sh o w s th e b ac k o f th e scroll w h ic h is se en to be blan k . T h e le tte re d sid e o f th e scro ll is a g a in tu r n e d to th e au d ien ce, a n d th e le tte rs a re se en to h a v e a rr a n g e d th em selv es to re a d , “ G ood E v e n in g E v e ry b o d y .” R e q u ir e m e n ts . A la rg e b a n n e r o r scroll, w ith a stick a t e ith e r end. T h is b a n n e r is m a d e o n th e c a rd b a n n e r p rin cip le. O n th e o u tsid e is p a in te d a ju m b le o f le tte rs , a n d w ith in th e flap a sen ten ce to re a d “ G ood E v e n in g E v e ry b o d y .” M e th o d . U n ro ll th e scroll a n d sh o w th e sid e w ith th e ju m b le o f le tte rs . N o w tu r n th e b a n n e r ro u n d to sh o w th e back, a n d w h ile d o in g so re le a se th e flap. T h e n tu r n th e le tte re d side to th e sp e c ta to rs a n d show th e g re e tin g . P R E D E T E R M IN E D

THOUGHT.

T h e p e r f o rm e r w rite s th e n am e o f a c o lo u r o n a b la n k c a rd . W ith o u t sho w in g an y o n e w h a t h e h a s w ritte n h e p laces th e c a rd , back o u tw a rd s, in a sm all g lass. H e n o w in tro d u c e s a p a c k e t o f c a rd s on each o f w h ic h is p r in te d a sp o t o f a d iffe re n t colour. T h e se c a rd s a r e sh u ffled b y a sp e c ta to r, a f te r w h ich one c a rd is fre e ly selected . T h e ch o sen s p o t-c a rd is th e n p la ce d in th e glass w ith th e c a rd w h ich b e a rs th e w ritin g . T h is la tte r c a rd is im m ed ia te ly re m o v e d fro m th e g lass an d h a n d e d to a s p e c ta to r w h o re a d s alo u d w h a t is w ritte n on th e c a rd . I f he say s “ R e d ,” o r a n y o th e r co lo u r, th e chosen c a rd is ta k e n fro m th e g la ss a n d is sh o w n to b e a r a sp o t o f th e p re d ic te d co lo u r. R e q u ir e m e n ts . A b o u t a d o ze n b la n k v isitin g c a rd s , a n d a d o zen on each o f w h ich h as been p a in te d , o r p rin te d , a sp o t o f a d iffe re n t co lo u r. A sm all g lass th a t w ill h o ld th e c a rd s in a n u p r ig h t p o sitio n . P la c e a c a rd w ith a r e d sp o t fac e d o w n o n th e to p o f th e p a c k e t o f b la n k c a rd s. 3

M e th o d . P ick up the packet o f blank cards, turn the tw o top cards over as one, and w rite the w ord “red” on it. T ak e these tw o cards off th e packet as one, and slip them in the glass, the w ritten side o f the card aw ay from the spectators. N o w introduce the packet o f coloured spotcards, have a person exam ine and m ix them, then let him select one card. H e is not allow ed to look at the card h e chooses w hich is straightw ay put into the g la ss back outw ards. R ecount w hat has happened, then rem ove the card on w hich the prediction is w ritten, and hand it to a spectator. A sk him to read aloud w hat is w ritten thereon. W h en he has done so, rem ove the tw o cards as one, from the glass. T hen turn and expose, sh ow ing that the chosen colour w a s correctly predicted. A D IF F E R E N T D IE -B O X . (D iagram on page

7)

T h e difference betw een this and other die-boxes is that the die used is p erfectly solid, and no shell is needed. R e q u ir e m e n ts . T he box has the usual fou r doors, tw o back and tw o front. It also has a top door, or lid, and under this top door there is a tray 1J in. deep. T h e partition d ivid ing the tw o com partm ents o f the box is hollow , the w idth o f the space betw een the w alls being also 1J in. A square piece o f tin is hinged to one o f the doors, and this is painted on one side to represent a die. T h is tin flap w orks independently o f th e d o o r : see diagram . T he die is a three inch block o f w ood, painted and spotted in the usual m anner, but it is cut into slabs or slices, each lin . thick. In addition to the faked die a solid one to m atch is also required. A square tube, about 6|i n . high is divided by tw o w ires w hich are fixed to the sides. M eth o d . Place the tube over the faked die w hich rests on the table. S h ow the solid die, drop it in the tube from the top, and im m ediately lift the latter bringing the faked die into view . L ay the tube on its side, pick up a plate, then take the tube, reverse it, and place it on the plate. N o w display the box. O pen 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. T h e die m ust be gripped firmly w ith the fingers and thum b and then it can be banged on the table as hard as required to prove its solid ity. U n d er cover o f the top lid apparently place the d ie in the b ox through the top. A ctu ally one section is placed tray on the right, and one section in the le ft. T h e third section goes sid ew ays into the h ollow partition. N o w close the top lid, and open the front door revealing the flap w hich represents the die. F rom this point w ork the usual die-box routine, finally sh ow in g the b ox em pty, then lift the tube and sh ow the solid die on the plate. ORGAN P IP E

FLOW ER GROW TH.

[Diagram on page 7)

T h is is an idea fo r u sing the fam iliar “O rgan P ip e s” to produce a plant w ith flow ers. T w o tubes only are used and in sid e the sm aller one an artificial plant is suspended, as show n in the diagram . T h is plant is m ade by stick in g w ires into a circular piece o f w ood an inch thick. T h e flow ers and the leaves are attached to the w ires w hich are painted green. A t each side o f the disc a thread is fastened the free ends o f w hich each term inate w ith a little m etal hook. T h u s the plant can be suspended inside the sm aller tube. T h e tw o tubes, together w ith a glass dish, are seen on the table at the com m encem ent o f the effect. M e th o d . P ick up the larger tube and show it to be em pty. N o w slide the sm aller tube in sid e the other tube and lift the outer one upw ards taking th e plant w ith it by m eans o f the hooks. S h ow the second tube em pty, replace it on the table, and stand the glass dish on top o f the tube. P lace the loaded tube inside the dish, at the sam e tim e releasing the hooks, thus allow in g the plant to settle in the dish. R em ove the tube and disclose the p la n t; see diagram . S T R E T C H IN G

A

ROPE.

( Diagram on page 7)

T h e perform er ties a length o f tape, w hich is introduced as rope, into a loop and then, pulling it w ith h is hands, 5

he starts to stretch the loop. It grow s longer and longer until finally it is seen to be tw ice its original length. R e q u ir e m e n ts. A length o f tape know n as “P y ja m a ” tape. T h is tape is about one inch w id e and, w h a t is m ore im portant, it is tubular. A shorter piece, about tw o inches long, is also required. M e th o d . T ake the longer p iece o f tape and insert one end into the other. T h e inserted end, as w ill be seen in the diagram , g oes about three-quarters o f the w a y round, and the result is a ring o f rope. N o w take the short piece and tie it, as show n in the diagram , around the large loop at the join. T h e tape, or rope, is now set for w orking. P ick up the tape and apparently tie the ends. S h o w th e loop, keeping the fake ends in view , hold the knot w ith the le ft hand, and pull at X w ith the right. K eep pulling as if stretching the rope, m aking the loop larger and larger. W h en the end is nearly out bring the right hand up to the knot and clip end “A ” in the crotch o f the thumb. A slight pull brings this short piece aw ay in the hand. Separate the ends o f the large loop, and throw the tape to the spectators.

S T R E T C H IN G

A

ROPE.

(S econ d M ethod) T h e rope in this effect is the sam e as that used in the first m ethod, on ly n o extra piece is required. T a k e a length o f the h ollow tape, and cut a slit in it about tw o inches from one end. N o w double the tape up in to a loop and push the loop through the slit. T h e m ore loop that is pushed in the bigger the stretch at the finish. H old the loop in the le ft hand, the fingers covering the slit, the ends “A .A .” show ing above the fingers. N o w start to pull the loop at X w ith the right hand. P ull out a little at a tim e, and the loop w ill appear to grow bigger and bigger. 6

7

in here. -M Duplicate Die heTC Vo, vA Uo.

Hook'*'

Vo

8

R IN G

AND

LO OP.

(Diagram on page 7)

E ffec t. A loop o f ro p e is seen to be tie d to th e c ro ss­ 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 so lid rin g is n o w p assed f o r ex a m in a tio n . W h ile th is is b ein g do 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 tw o u p rig h ts o f th e sta n d th u s h id in g th e loop b u t n o t th e tie d en d s o f th e ro p e. T a k in g th e rin g h e h o ld s it b eh in d th e h a n d k e rc h ie f. W h e n th e h a n d k e rc h ie f is re m o v e d a few se conds la te r th e rin g is seen to be th re a d e d o n th e ro p e. T h e ro p e is n o w c u t a w a y ju s t below th e k n o ts, a n d b o th th e ro p e a n d th e rin g a re p assed f o r in sp ectio n . R e q u ir e m e n ts . A sta n d w ith a c ro ss-b a r as sh o w n . H a lf - w a y u p th e u p rig h ts a re tw o h o o k s on w h ich to h a n g th e h a n d k e rc h ie f. A piece o f ro p e fa k e d a s fo llo w s. N e a tly jo in th e e n d s w ith w ax , a n d a ro u n d th e m id d le o f th e ro p e tie a s h o r te r len g th . S ee th a t th is k n o t r u n s f re e ly u p a n d d o w n th e lo n g e r ro p e, th e n tie th e s u rp lu s en d s a ro u n d th e c ro ss-b a r o f th e sta n d . T h e re s u lt is a lo o p o f ro p e a p p a re n tly se cu rely tie d to th e c ro s s -b a r o f th e sta n d . A h a n d k e rc h ie f a n d a c u rta in rin g co m p lete th e a p p a ra tu s. M e th o d . S h o w th e loop tie d to th e sta n d . P a s s th e r in g f o r insp ectio n , a n d m ean w h ile h a n g th e h a n d k e rc h ie f o n th e h o oks to conceal th e en d o f th e loop only. R e ce iv e b ac k th e rin g , a n d p la ce it b eh in d th e h a n d k e rc h ie f. S e p a ra te th e w a x e d en d s o f th e rope, th re a d th e rin g , ro ll th e e n d s o f th e ro p e n e a tly to g e th e r ag a in , a n d p u ll at X till th e jo in e d en d s rea ch th e fa k e k n o t. R e m o v e th e h a n d k e rc h ie f a n d show th e rin g on th e rope. C u t th e ro p e clean a w a y below th e k n o t w ith a p a ir o f scisso rs, le av in g th e k n o t on th e c ro ss-b ar, a n d p ass th e r in g a n d th e ro p e f o r e x a m in a tio n . D IE

AND

ROPE.

(Diagram on page 8)

T h e p e r f o rm e r p asses f o r in sp ectio n a le n g th o f ro p e a n d a w o o d en die th ro u g h th e c e n tre o f w h ich ru n s a hole. A s p e c ta to r is a sk e d to th r e a d th e d ie on to th e 9

rope, and return it to the p erform er w ho proceeds to thread the ends o f the rope, through the holes in tw o u prights w hich are fixed to a w ooden base. T h e ends o f th e rope are now secured to tw o staples at each end o f th e base. T o the spectators it appears im possible to rem ove the die w ithout cutting the rope. T h e perform er n o w stretches a foulard from pillar to pillar hiding the die. In a few seconds he rem oves the die under cover o f the foulard w hich is then rem oved and the rope show n intact. A t the conclusion the rope and the die m ay again b e passed for inspection. R e q u ir e m e n ts . A w ooden base w ith tw o uprights through each o f w hich, near the top, a h ole is drilled for th e rope. In addition to this one o f the pillars has tw o •cavities cut in it, one beneath th e other. T h ese openings a re o f such a size as to accom m odate a die. W h en it is placed in either cavity the side o f the die should be flush w ith the side o f the pillar, w ith the one spot side, w hich m asks the h ole in the die, to th e ou tside. A sm all hook is fixed to the top, and at the front o f each upright for the foulard, and a staple at each end o f the base to w hich to tie the ends o f the rope. T w o w ooden dies, exa ctly alike a re required, and th ese have a h ole drilled through their centres. T h e openings in the pillars are concealed w ith a suitable black-art design. P r e p a r a tio n . P lace one o f the dies in the lower op en ing in the pillar.

Method. P a ss the other die and the rope for ex ­ am ination, and have the die threaded on the rope. Thread the ends o f the rope through the holes in the uprights, and tie the rope-ends to the staples in the base-board. T ake the foulard and hang it on the hooks. U n d er cover o f the drape slide the die alon g the rope into the opening in the pillar. W hen the die is right hom e, rem ove the duplicate from the low er opening, unhook the foulard, and sh ow the d ie to be free. P ass the die and the rope for exam ination if desired. 10

U N IQ U E

CUT R O PE .

{Diagram on fa g e 8)

E ffec t. T h e p erform er sh ow s a length o f rope tied betw een the arm s o f a “U ” shaped stand. T h e rope is cut through the m iddle and tied. T h e knot is n ow covered w ith a handkerchief, a m agic pass, the h and kerchief is rem oved and the rope is seen to be restored. T h e p erform er cuts the rope aw ay from the stand, and throw s th e restored rope out fo r inspection. R e q u ir e m e n ts . A stand as sh ow n in the diagram . It is m ade o f a p iece o f m etal tube w hich is attached to a suitable base. A slot is cut at the end o f each arm o f the tube, and ju st under the slots a sm all dum m y piece o f rope is tied, the knots being to the fron t o f the tube, that is, facin g the spectators. N o w obtain a length o f s o ft rope and thread it through the tube. L eave enough slack so that, after the rope has been cut, a knot can be tied. N o w sew the ends o f the rope n eatly together and pull until the join is inside the tube. M e th o d . S h ow the rope on the stand ; it appears to be a short length o f rope tied to th e tw o arm s o f the stand. Cut the rope through the m iddle at X and tie the cut ends so that the knotted rope w ill be stretched tigh tly across the stand. H old the knot w ith the right hand, and co v er both w ith a handkerchief. A s the right hand em erges from under the hand kerchief, the k not and the rope is p ulled to the right, and the pull is continued w ith the le ft hand until the knot passes right through the slot in to the tube. R em ove the handkerchief and show the rope is restored. F in a lly cut the rope aw ay close to each arm, and pass the restored piece fo r exam ination.

P R A C T IC A L L IV IN G A N D D E A D T E S T . ( Diagram on page 8)

E ffec t. T h e perform er has five blank cards and five en velopes selected from a packet o f each. H e asks a spectator to w rite the nam e o f a dead p erson on any one 11

o f the cards and place it face dow nw ards on the table. O n each o f the rem aining fau r cards the spectator is re­ quested to w rite the nam e o f a living person. A ll the cards are now placed in the envelopes and sealed. T h e spectator is then invited to m ix up the envelopes, place them on the table in a row , and cover them w ith a handkerchief, the perform er turning his back w h ile this takes place. W h en the m ixin g is finished, and the envelopes covered, h e turns round, reaches under the handkerchief, and rem oves the envelope containing the nam e o f the dead person. In this m ethod the envelopes and the cards can be freely chosen, and n either are m arked in any w ay. R e q u ir e m e n ts . A packet o f sm all envelopes, and one o f blank cards. T h e latter should be the sam e w idth as the envelopes, but a quarter o f an inch shorter. M e th o d . H a v e five cards and five envelopes chosen. H a v e a “dead" nam e w ritten on one card w hich is placed face dow nw ards on the table. F ou r “liv in g ” nam es are w ritten on the rem aining cards and these are placed alongside the card w ith the “dead” nam e. N o w pick up the “dead” nam e, slip it in an envelope, but push it right hom e. P u t the liv in g nam es in the rem aining en­ velopes, but only push them in to the top edge o f the envelopes. S eal all the envelopes, let a spectator shuffle them , lay them on the table, and cover the five w ith a handkerchief. R each under the handkerchief, and fee l for the envelope containing the card w hich w a s pushed right hom e. T h is envelope, as explained, contains the card bearing the “dead” name.

T H IM B L E

THROUGH

HAT.

[Diagram on page 8)

E ffec t. A sleight w herein a thim ble is apparently passed through the crow n o f a borrow ed hat. R e q u ir e m e n ts . w ithin the other.

T w o thim bles, one o f w hich n ests 12

M e th o d . P lace the larger o f the tw o thim bles on the m iddle finger o f the right hand, and back-palm the sm aller thim ble b y clipping it betw een the first and third fin g e r s; see diagram . H old the hand palm tow ards the audience, pick up the hat in the le ft hand, and w ith the thum b o f the right hand, push the visible thim ble off the m iddle finger, and let it drop visib ly into the hat. P lace th e right hand under the hat, and insert the m iddle finger into the back-palm ed thim ble. D isp lay the thim ble and show the hand to be otherw ise em pty back and front. A g a in place the right hand under the hat, and apparently throw the thim ble, really back-palm ing it again, through the bottom o f the hat. R each inside the hat, re-insert the finger into the back-palm ed thim ble and push it inside the thim ble w hich w as dropped into the hat. R em ove the tw o thim bles as one, and sh ow th e hand back and front, then return the hat to the lender.

S IM P L E

C IG A R E T T E (D iagram on -page

C A TC H IN G . 8)

S ecretly load several cigarettes in to a b ow ler hat w hich is then held in the le ft hand. O btain a cigarette w ith the right hand, gripping one end betw een the first and second fingers. Curl these fingers inw ards, and extend the thum b alon g the cigarettes; see diagram . Stand w ith the le ft side to the spectators. T o m ake the cigarette appear, quickly draw back the thum b 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 th e hand is hidden, slide the thumb alon g the cigarette again. T h e catching can n ow be repeated, and at the finish actually throw the cigarette into the hat, and tip th e con ­ tents on to a tray. 13

ROPES

AND

R IN G .

(Diagram on page 14)

T h re a d tw o le n g th s o f ro p e th ro u g h a rin g a s sh o w n in th e d ia g ra m . N o w p u ll o n th e ends o f th e ro p e s till th e y a r e in th e p o sitio n sh o w n a t “ B .” C ro ss th e ro p es “A ” “ D ” to th e le ft, a n d “B ” “ C ” to th e rig h t. P a s s th e en d s “A ” “ D ” th ro u g h th e le ft a rm -h o le o f th e v est, a n d “ B ” “ C ” th ro u g h th e r ig h t a rm -h o le . A t th is p o in t sh o w th e rin g on th e ro p es, a n d as th e rin g is ra ise d in o r d e r to p lace b etw e en th e te eth , se c re tly slip th e ro p e s off th e rin g . T h e ro p es a n d th e r in g a r e still h eld to g e th e r, h o w ­ ev er, a n d th e n p laced b etw een th e teeth . C ro ss th e ro p e s “ D ” “ B ” in f ro n t o f th e v est, ta k e th e e n d s o f tw o ro p e s in ea c h h an d , a n d e x te n d th e a rm s. T h e ro p e s w ill th e n com e c le a r o f th e vest, a n d th e rin g w ill be le f t b etw e en th e te eth . T h is m e th o d , w h ich is th o ro u g h ly p ra c tic a l, allo w s th e effect to be p e rfo rm e d a t a n y tim e. I t is v e ry sim ple to w o rk , a n d th e re a re no su sp icio u s m o v e s w ith th e ropes. DUPLEX

F IS H B O W L

P R O D U C T IO N .

[Diagram on page 14)

T h e p e r f o rm e r sh o w s a fo u la rd o n b o th sides. S u d d e n ly h e a p p e a rs to h a v e c a u g h t so m e th in g u n d e rn e a th th e fo u la rd . H e g oes to his ta b le a n d o n th e to p o f it 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 o w l o f g old-fish is seen u p o n th e table. A g a in th e p e r f o r m e r re a c h e s u n d e r th e fo u la rd , an d p ro d u c e s a seco n d bow l o f fish. T h is is p la ce d on to p o f th e first one. T h is m a k es a n ex c ellen t o p en in g effect. R e q u ir e m e n ts . A b ox ta b le th e to p o f w h ic h co n sists o f tw o sp rin g -h in g e d flaps. T w o slots a re c u t in th e flaps, see d ia g ra m , a n d th e se p e rm it a c a t-g u t loop, w h ich is a tta c h e d to o n e bow l concealed in th e b o x -to p , to p r o ­ tru d e . A t th e back o f th e ta b le is a sh e lf-se rv a n te , a n d o n th is re s ts th e second bow l. A piece o f b la ck clo th to c o v e r th e ta b le -to p is also req u ired . 15

T o se t. P la c e th e looped bow l in th e b o x -to p . C lose th e flaps an d d ra w th e c a t-g u t loop th ro u g h th e slots. T h e o th e r bow l is p la c e d o n th e sh e lf-se rv a n te , a n d th e p iece o f clo th is sp re a d on th e tab le-to p . M e th o d . D isp lay th e fo u la rd a n d p re te n d to catch so m e th in g u n d e r it. Go to th e ta b le a n d u n d e r co v e r o f th e fo u la rd , ta k e h o ld o f th e c a t-g u t loop th ro u g h th e sq u a re o f cloth, a n d p u ll u p w a rd s till th e bow l is c le a r o f th e flaps. A s th e flaps fall in to place allo w th e b o w l to r e s t on th e tab le, a n d d ra w th e fo u la rd to w a rd s th e re a r. W h ile th e sp e c ta to rs’ eyes a r e o n th e ex p o sed bow l, se cretly ta k e th e second one fro m th e shelf k ee p in g it co n ­ cealed u n d e r th e fo u la rd . A f te r a su itab le p a u se reach u n d e r th e fo u la rd a n d p ro d u c e th e seco n d bow l, a n d re s t it on to p o f th e first one. T h e sq u a re piece o f clo th is r e ­ ta in e d u n d e r th e fo u la rd . A

SU M

P R E D IC T IO N .

( Diagram on page 14)

E ffec t. T h e p e r f o rm e r sh o w s bo th sides o f a slate. H e w rite s so m e th in g on th e sla te a n d re s ts it on his ta b le w ith o u t sho w in g an y o n e w h a t h e h a s w ritte n . H e no w ta k e s a second slate, a n d wTrite s o n it (in ad d itio n su m fo rm ), f o u r ro w s o f fig u res w h ich a re called o u t b y th e sp e cta to rs. T h e sum is a d d e d u p a n d th e to ta l is w ritte n u n d e rn e a th . T h e first sla te is n o w p ic k ed up, tu rn e d ro u n d , a n d w ritte n on it is th e c o rre c t a n s w e r to th e sum . T h e b e a u ty o f th is tric k is th a t th e re is no fo rc in g o f an y o n e o f th e figures, th e w h o le tric k b ein g in th e slates them selves. R e q u ir e m e n ts . A sla te (N o . 1), as sh o w n in th e d ia g ra m . T h is is d iv id e d in to five equal sections b y w h ite lin es on b o th sides, b u t th e b o tto m se ctio n is c u t aw ay . A flap w h ich is b lack a n d h a s lines on one side on ly is m ad e fo r th is slate, a n d th e flap is p la ce d o n th e sla te w ith th e lin es o u tw a rd . T h e second sla te (N o . 2 ), is th e sam e size as th e first, a n d a p a r t fro m bein g lined, th e o n ly p r e ­ p a ra tio n a b o u t it is th e a d d itio n o f a flap w hich is also d iv id e d b y w h ite lines. M e th o d . S h o w sla te N o. 1 a n d p re te n d to w rite so m e­ th in g on th e F L A P side. T h e slate, flap u n d e rm o st, is th e n

16

p la c e d on th e table. P ic k u p sla te N o . 2 a n d h av e f o u r ro w s o f figures called o u t. T h e s e a re w ritte n o n th e flap in th e spaces b etw e en th e w h ite lines. T h e su m is n o w ad d e d u p , a n d th e a n s w e r w ritte n in th e fifth o r 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 re it is c o rre c t. H o ld th is sla te fac e-d o w n a n d p la ce it on sla te N o . 1. S lid e N o. 1 sla te fro 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 re 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 , th e so-called p re d ic te d a n sw e r w h ich is seen is re a lly th e to ta l o f th e o rig in a l sum sh o w in g th ro u g h th e c u t-o u t p o rtio 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 w h ite lin es on th e sla te s is, o f course, to h id e th e m issin g piece. A P R O D U C T IO N B O X ID E A . (Diagram on page 14)

E ffe c t. T h e p e r f o rm e r sh o w s a sm all b o x w h ic h o p e n s a t th e to p a n d f ro n t. T h e re is no d o u b t a b o u t th e b o x b ein g em 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 rm e r d ro p s a cu b e in sid e a n d th is e n tire ly fills th e box. T h e cube is th e n rem o v e d an d th e b o x is still seen to be em p ty . T h e f ro n t a n d to p d o o rs a re now closed, a n d alm o st im m ed ia te ly th e to p d o o r is re-o p en e d a n d a p ro d u c tio n com m ences. R e q u ir e m e n ts . A sq u a re b o x th a t o p en s a t th e to p a n d th e f ro n t, see d ia g ra m . A ho llo w cube (N o . 1) w h ich h a s o n e sid e r e m o v e d ; th is fits insid e th e box. A seco n d cube (N o . 2) w h ich fits inside th e first one. N o . 2 cube is open a t th e to p a n d th e fro n t, a n d a m ir r o r is fitted a t an an g le o f 45 d e g re es to reflect th e b o tto m o f th e cube. L o a d th e sp ace b eh in d th e m ir r o r w ith silks, etc., a n d n est N o. 2 cu b e in sid e N o . 1. M e th o d . S h o w th e box all ro u n d a n d o p en th e to p a n d f r o n t lids. S lip th e n-ested cubes (a s o n e cube) in sid e th e b ox. A p p a re n tly rem o v e th e cube, b u t re a lly ta k e o n ly th e o u te r shell fro m th e box. T h a n k s to th e m ir r o r th e b o x still a p p e a rs to be em pty. C lose th e box, th e n o p en th e to p lid an d m ak e th e p ro d u c tio n . N ee d less to sa y th e in sid e o f th e cubes, a n d th e insid e o f th e b o x sh o u ld be p a in te d th e sam e colour. 17

A B R O K E N M ATCH. E ffec t. T h e perform er p laces a m atch on his out­ stretched le ft palm. H e -strikes the m atch w ith edge o f his right hand, and the m atch is seen to be broken in tw o. R e q u ir e m e n ts . A m atch. M e th o d . O pen the le ft hand out fiat. P lace a m atch on this hand at the base o f the fleshy part o f the thum b ; see diagram . R aise the right hand and w ith the side o f it strike the m atch in the centre. Just b efore the blow falls, contract the palm. T h e open space created beneath the m atch m akes the breaking easy, and the palm is im m ediately flattened again.

THE

T .S . P R O D U C T IO N

BOX.

{Diagram on page 19)

D esigned for the production o f four large silks, this little box can be sh ow n em pty betw een the production o f each silk. T here are no flaps, false bottom s, or m irrors to w orry the operator, and the box can be freely displayed and even spun on the end o f the wand. C o n str u c tio n . T he box is fou r and a h alf inches square, and the top ed ge is flanged as show n in the diagram . T h is leaves a space o f h alf an inch betw een the four sides o f the box. F ou r slots, J inch w ide and 1 inch long, are cut in the top edge o f the box. T he slots m ust be in the centre o f each side. T h e lid for the box is a flat piece o f m etal w ith five lugs. F ou r o f the lugs, w hich are H inches long, fit o u tside the four sid es o f the box. T he fifth, or m ain lug, is directly behind, and parallel w ith, one o f the other lugs. W h en the lid is placed on the b ox this fifth lu g enters a corresponding slot. W o r k in g . F old fou r silk s neatly, and place one in each o f the double sides o f the b ox directly under the slots. S h o w the b ox em pty, pick up the lid, concealing the double lug w ith the fingers. D isp lay both sides o f the lid, then place it on the box, and as the extra lu g enters a slot one o f the silks is forced from its place o f concealm ent. 18

R e m o v e the lid a n d p r o d u c e the first silk. R e p e a t the p e r f o rm a n c e , a n d each tim e the lid is replaced, engag e the e j e c to r lug in a slot u n d e r w hich th e re is a silk, until the r e m a in in g th r e e silks h a v e been p ro d u ce d . T h e to p edge of th e box should be d e c o rate d w ith a design to conceal the slots.

V ie .o j.

G L A SS

P E N E T R A T IO N .

(.Diagram above)

A sheet of glass is s h o w n a n d slipped into tw o g ro o v ed u p rig h ts a tta c h e d to a base. T w o e m p ty soc k ets a r e n o w h u n g o v e r th e glass w h ich is th e n tu r n e d s id e w a y s to the spectators, a n d tw o lit’tle em p ty tubes a r e fixed, one in each socket. A sm all silk in se rted into one tu b e p e n e tr a te s th e glass a n d is w it h d r a w n f r o m th e o th e r tube. S e c r e t. R e fe r e n c e to th e d ia g ra m s will m a k e e v e r y ­ th in g clear. T h e y sh o w th e glass a n d the base, a n d it will be seen t h a t th e sockets a r e a tta c h e d to a “ U ” sh a p e d str ip

l®

o f metal. T h is is slipped o v e r th e sheet o f glass a t “ X , ” a n d th e f r a m e is tu r n e d edg ew ays to th e audience. T h e tw o tu bes a r e really “ g h o s t” tubes, one o f w hich is loaded w ith a silk. T h e tubes a r e placed in th e sockets a f t e r they have been show n e m p ty in th e u su a l w ay. A silk is now push e d into the em p ty tube an d its duplicate w ith d r a w n f r o m the loaded one. T h e tubes a r e th e n rem o v e d fro m the sockets a n d once m o r e sho w n em pty. A

M A G A ZIN E

TE ST .

A m agazine, a f t e r being open ed at a n y pag e b y a spectator, is r e tu r n e d to the p e r f o rm e r , w h o places his h an d s behind his back to receive it. T h e sp e c ta to r is n o w a s k e d to again t a k e th e m a g az in e a n d close it. T h e p e r ­ f o r m e r im m ediately n a m e s th e selected page. R e q u ir e m e n ts. A m a g a z in e w h ich has th e pages n u m b e re d a t th e top corners. A strip o f c a r d b o a r d to act as a bo o k -m ark . M e th o d . H a n d o u t the m a g a z in e a n d the bo ok-m ark. R e q u e st som eone to open th e m a g az in e at a n y page an d no te th e n u m b e r o f it, a n d r e tu r n the m a g az in e still open. Place th e h a n d s behind the bac k to receive it, a n d hold the selected page w ith th e le ft h an d. W i t h th e r ig h t h a n d co u n t tw o pages f u r t h e r on, a n d t e a r of? the n u m b e re d co rn e r o f the n e w page. K e e p this piece in th e r ig h t h and , an d tell the sp e cta to r to c o n c en tra te on th e n u m b e r of the chosen page. S ecre tly glim pse th e n u m b e r on the c o r n e r in th e r ig h t h and, a n d t u r n a w a y f r o m the spec­ tators. L e t a sp e cta to r take the m agazine, place th e book ­ m a r k a t th e selected p a g e a n d close th e book. T o n a m e the chosen p a g e cou n t b a c k tw o p ag e s fro m the n u m b e r on the to r n co rner. F o r e x a m p le : if the n u m b e r on the to r n c o r n e r is tw enty, the selected p ag e w ill be eighteen. H a v e th e m a g az in e opened a t th e b o o k -m a rk e d page fo r verification. T h e idea of u sin g a b o o k -m a rk is to p rev e n t the sp e c ta to r r u n n in g th r o u g h th e p age s a n d d isco vering th e to r n corn er. C opyrigh t by G eo rge Johnson, 1937

20

A

a -cP

v ct ? ' s ’

Books on Conjuring & Entertaining L E T ’S P R E T E N D , by W ilfr id Jonson. A first booklet by th is expert and popular m agician. P ractical card and silk effects, p aper-tearing, etc. R eally first class w ork for p a y in g audiences. 2 /6 . P ostage l i d . 75 cents. P O N S IN O N C O N J U R IN G . T ranslated and annotated by S. H . Sharpe. T h is is a translation of J. N . P onsin ’s fam ous book N ouvelle M a g ie Blanche D evoilee. 8vo, cloth, 10s. 6d. P ostage 4-d. (December.) S L O W S L E IG H T S , by E. B rian M acC arthy. N o v el m oves w ith b illiard b alls, thim bles, cards, coins, etc. 2 /6 . P ostage l i d . 75 cents. M O D E R N S L E IG H T S , by E . B rian M acC arth y. A com panion booklet to “ Slow Sleigh ts.” C opiously illu strated. 2 /6 . P ostage l i d . 75 cents. P U T I T O VER , by JV F. Orrin. D e a lin g w ith concert stage effects and their d elig h tfu lly hum orous presentation, the success o f th is book is phenom enal. A handsom e volu m e of v ery n ew m agic, copiously illu strated. Cloth, 211 p ages, 1 0 /6 . P ostage 4d . $3.00. W A L K E R ’S C A R D M Y S T E R IE S , by R oy W alk er. A book of really m odern card effects. C opiously illustrated. Recom m ended w ith ev ery confidence. Cr. 8vo, 3 /6 . P ostage 3d. $1.00. N E O M A G IC , by S. H . Sharpe. T h e M a g ic of to-d ay and to-m orrow . A n inexhaustible fount o f inform ation in a w e ll w ritten and b eau tifu lly produced volum e. D em y 8vo, S /6 . P ostage 4d . $2.00. H A P P Y M A G IC , by Chas. W a ller. Cloth bound (com plete). A sp len d id collection of humorous effects. T h orou gh ly practical. 7 /6 . P ostage 3d. $1.75. P art I (w rappers), 2 /6 . P a rt I I , 2 /6 . H O F Z IN S E R ’S C A R D C O N JU R IN G , by Ottokar Fischer. T h e acknow ledged best w ork on the subject. Cloth, 184 pages, 10/ 6 . P ostage 4d. $3.00. “ R I N G U P T H E C U R T A IN ,” by J. F. Orrin. Covers a w id e field o f practical m agic and on ly subm its tricks that h ave been successfully presented. 3 /- . P ostage 3d. $1.00. " M A G IC F R O M B E L O W ,” by Charles W a ller. T h e second p rin tin g o f this m ost successful book n ow ready. A veritab le go ld m ine for the practical M agician in search of w orkable n ovelties. Cloth. 176 pages. 6 /6 . P ostage 3d. $1.60. W A L L E R ’S W O N D E R S , by Charles W aller. One o f the most up-to-date and successful books published. B rillia n tly n ew . Cloth, 8 /6 . P ostage 3d. $2.60. A F E W J A R D IN E ELLIS SE C R E T S. “ A n y sin g le item is w orth more than the price at w h ich the book is p ublished.” W rappers, 1 /1 . P est free. 40 cents. A R T IN T E N M I N U T E S , b y G eorge M unro. A hum orous “L ig h tn in g Sketch” lecture th at is easy to present. W rap p ers, 1 /1 . P ost 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 eorge M unro. A n ew edition o f this rem arkably useful and fun n y book. W rappers, 1 /1 . P ost free. 40 cents.

H O F F M A N N . Sundry Trick's and Sleigfrts d evised by C. P. M edrington. -W rappers, 1 /- . P ostage l i d . 30 cents. L A U G H T E R A N D L E G E R D E M A IN , b y F rederic C ulpitt. T h e excellen t tricks o f th is fam ous m agician , w ith -wonderful “ patter.” Cloth, S /6 . - P ostage 3d. $1.50. M A G IC A L S U G G E S T IO N S , b y H arry Latour. A book o f con juring effects on novel lines. Id eas out o f the beaten track. C loth, 3 /6 . P ostage 2 d . $1.00. O R IG IN A L M A G IC A L N O V E L T IE S , b y N orm an H oole and J. J. Shepherd. T h is publication is ou t o f print, b u t copies o f the M a g ic IP and con tain in g th e com plete book are on sa le at 3 /6 . ' C O N JU R E R S ’ T A L E S , b y G eorge Johnson. Stories o f the ups and d ow n s o f con juring life on the road. - Cloth, 1 /6 . . P ostage 2d . 55 cents. T H E B IB L IO G R A P H Y O F C O N J U R IN G , b y S id ney W . Clarke. - In v a lu a b le to a ll m agical students and collectors. Boards, 3 /6 . P ostage 2d . $1.00. • . M U C H M A G IC . H andsom e cloth bound -volum es, con tainin g in terestin g num bers o f the M a g ic JFand (quarterly). Series I. o v er 350 pages, 1 2 /6 . Series II. 400 pages, 1 2 /6 . Series II I. 400 pages, 1 2 /6 . P ostage 6d. $2.75 and $3.50. M A G IC M A D E M E R R Y , b y H . A . P alm er. T h e best patter book. 2 / - . P ostage l j d . 75 cents. C O N J U R IN G F O R 'C O N N O IS S E U R S , b y Bernard Carton. A b rillia n t booklet su b m ittin g m an y novel and easy tricks. W rappers, 1 /1 . P ost free. 40 cents. C O N J U R IN G T R IC K S . Cloth bound cop ies o f interesting num bers o f the m onthly M agic W a n d . (Supply lim ited.) P rice 8 /6 . P ostage 6d. $2.60. T H E A N N A L S O F C O N JU R IN G , b y S id ney W . Clarke. T o m eet a general dem and, the M a g ic JFand, V olu m es. X I II . to X V III. are n ow produced as tw o handsom ely bound library books. T h e y present upw ards o f 1,000 m agical effects. T h e volu m es (w h ich are quite free from ad vertisin g m atter and are su itab ly em bossed in gold) in clu d e the w h ole o f “ T h e ’A n n a ls o f C o n ju r in g ” w ith som e hundreds o f illu s­ trations. C on tain in g over 1,350 p ages (in the tw o books) exclu sive o f in set plates, the production is w e ll w orth y o f inclusion in an y library. T h e com plete indices are bound w ith the books. £ 5 . 1 0 /- . P ostage 1 /6 . A b road 2 / 6 . T H E M A G IC W A N D A N D M A G IC A L R E V IE W . Fam ous the w orld over. A n n u al Subscription, 1 0 /6 . P ost free. Specim en Copies, 2 /6 . B y P ost 2 /8 . 80 cents.

GEORGE

JO HNSO N

Publisher and M agical Bookseller i ‘ THE

“ M A G IC

W AND”

O F F IC E

2 4 B u c k in g h a m S tre e t, S t r a n d , L o n d o n , W .C .2